Town and Gown
by
Andrew Morris
EXT. SCENE - HULL GATE, UNIVERSITY OF CHICAGO.
It is a dark and stormy day. The grotesques atop Hull Gate are not bothered, and leer out over 57th Street as they have for decades. Below them, students hurry in both directions, either toward the Quad and shelter, or out to 57th Street and their classes or other collegiate distractions.
One student (ARCHIE) stops a moment, his eye attracted by a pamphlet taped to the stonework, advertising co-op opportunities. He snaps a quick photo of the pamphlet with his phone, and studies it closely.
INT. SCENE - LABORATORY. RECEPTION.
Bright, clinical, barren, all the things a university office can be but typically is not. A man (JIMMY LOCKS) sits at the reception desk, watching "Metropolis" on his computer. The door opens, and ARCHIE enters, looking around. He approaches the desk.
ARCHIE
Um, hello?
JIMMIE
Hi there. Can I help you?
ARCHIE
Do you still have co-ops open?
JIMMIE
We sure do. You're interested?
ARCHIE
Yes, please.
JIMMIE
Great. You're in luck. They're seeing people today. Could you just sign this for me?
He pulls a clipboard out from under the desk and pushes it across to ARCHIE. ARCHIE picks it up and looks it over. There is a form clipped to it that is very dense and very finely printed, with a large "X" marking the signature line.
ARCHIE
What's this?
JIMMIE
Release and confidentiality agreement. You know, so we can get at your student records, and so on.
ARCHIE
Oh. All right.
JIMMIE
And, uh, if you could leave your student ID, I can get the paperwork started for you.
ARCHIE signs the form, and then, clipping his ID card to it, passes the clipboard back to JIMMIE, who takes it.
JIMMIE
Go ahead on in. They're waiting for you.
ARCHIE
Sure. Thanks.
ARCHIE opens the double doors at the back of the office. It is dark beyond. He looks over at JIMMIE, who has turned back to his movie. Lacking anything else to do about it, he shoulders his book bag and steps through.
INT. SCENE - LABORATORY. HALLWAY. (DARK)
ARCHIE carefully makes his way through the hallway. At the far end, a door is open and the room beyond is well-lit. To either side are a number of offices, all closed and dark. With great trepidation, ARCHIE slowly moves toward the lit room.
INT. SCENE - LABORATORY.
The brightly-lit room turns out to be a laboratory with two exam tables in it and several other doctor's office paraphernalia. Standing at the center of the room is a golden android, faceless, humanoid. ARCHIE enters, looking around and squinting in the light. He approaches the android, looking it over carefully. He looks toward its face, if it had one. It speaks suddenly, cheerfully, startling him backward.
ANDROID
Hello, candidate!
ARCHIE
Hello.
ANDROID
We are pleased to have you join research project ARC7994168637, comma, Cybernetics Interface in Mobile Devices. Welcome.
ARCHIE
Happy to be here.
ANDROID
You are responding to our poster slash solicitation, is that true?
ARCHIE
Yeah. It said something about brain-machine interf--
ANDROID
We are researching advanced applications for brain-machine interfaces. We are in need of well-qualified research assistants. The position will pay up to $2,500 in cooperative funding.
ARCHIE
Sounds great.
ANDROID
What is your major?
ARCHIE
I am, um, in English literature.
ANDROID
In what year of study are you?
ARCHIE
Second. Um, look, is there a live person--
ANDROID
Have you arranged for employment after your studies are complete?
ARCHIE
No, I mean, I'm a sophomore, it's a bit early for that--
ANDROID
Where is your home?
ARCHIE
Raton, New Mexico.
ANDROID
Thank you! Processing.
ARCHIE
Right.
ANDROID
We are pleased to offer you the position of research assistant with an immediate start date. Congratulations.
ARCHIE
Um, but, no, I have a study group--
ANDROID
Will you please remove your coat?
ARCHIE
What?
ANDROID
Will you please remove your coat?
ARCHIE
No, but, see, I have something--
ANDROID
Will you please remove your coat?
ARCHIE
Well...all right.
ARCHIE removes his coat and looks around for somewhere to put it.
ANDROID
Thank you. Will you please lie back on the table on my...right?
ARCHIE
Lie on the table? What for?
ANDROID
We would like to put your mind to work at once.
The ANDROID extends a saw from its arm and approaches ARCHIE. He panics and turns to run.
INT. SCENE - LABORATORY. HALLWAY. (DARK)
ARCHIE runs toward the front door. He stops short: from the side offices, two floating drones with articulated tentacles hover out, closing his path. The ANDROID begins to follow him.
ANDROID
We would like to put your mind to work at once. We would like to put your mind to work at once.
ARCHIE rushes forward, below the drones. He brushes through their tentacles. This is a grave error: they entangle him, and restrain him from reaching the door.
ARCHIE
Help me! Help!
INT. SCENE - LABORATORY. RECEPTION.
In reception, ARCHIE's struggles are plainly visible, but JIMMIE continues to watch his movie, unbothered. A drone floats in front of the doors and closes them gently. There is the sound of a saw starting up and cutting, and ARCHIE screaming.
JIMMIE looks up casually at the doors, and then unclips the form and ID from the clipboard, drops the form into a file cabinet, clips a new form in its place, and puts the board away, and then puts the ID into a shredder, which consumes it as horrible noises continue to come from behind the doors.
EXT. SCENE - TRIBUNE TOWER. (NIGHT)
GOLIATH and BROOKLYN are standing on the east side of the tower, looking out at the lake, watching. The rain is coming down lightly.
Caption: Tribune Tower, Chicago. Monday, February 18, 2013. 7:43 PM.
BROOKLYN
Hidoi.
GOLIATH
Hidoi?
BROOKLYN
Katana would say things like that on nights like this. Tenki wa hidoidesu. "The weather is terrible." I was trying to remember it.
GOLIATH
Hmm.
BROOKLYN
She never wanted me to hear her complain about the weather. Even the kind you couldn't see through. She knew what I would have to tell her about that. "There could be worse things out there than the weather." I don't know that she ever knew I could understand what she was saying.
GOLIATH
You speak as though she were gone.
BROOKLYN
It feels like it. Every night I find one more thing about her I can't remember. Do you think we are ever going to get them back?
GOLIATH
Yes.
BROOKLYN
Just "yes"? Just like that?
GOLIATH
There is nothing more to say than that. Nothing is lost until it is gone.
BROOKLYN
No. I suppose it's not. But you would think that, after all this time...
GOLIATH
Yes. I know.
BROOKLYN continues to look out over the city and the lake. Something catches his eye, however, and he looks down.
BROOKLYN
What's that?
He points down, and GOLIATH looks. Below them is a small constellation of lights proceeding north up Michigan Avenue.
EXT. SCENE - NORTH MICHIGAN AVENUE. (NIGHT)
The lights continue up Michigan Avenue. They stop outside of a high-end jewelry store and form up. They hover there a moment, and then one group flies around and crashes directly into the front of the store, smashing it. Glass flies everywhere and the alarm begins blaring. A second group dives in and begins to smash open the display cases. The third group descends, and begins to loot the cases. Inside, the customers dive for cover or scatter. The owner, behind the counter, pulls out a shotgun and begins firing at the drones. Three of them dive at him and tie him up, pulling him down behind the counter, as the others continue their work.
Behind them, GOLIATH and BROOKLYN land outside the store. Their arrival drives many of the remaining onlookers to take to their heels. BROOKLYN draws his katana, and the two of them wade into combat. GOLIATH swipes at several of the drones, forcing them to drop their loot. Unfortunately, one entangles his arms and is quickly assisted by a second. Despite his rage, his flailing is constrained by the drones, which begin to lift him into the air. BROOKLYN swings his katana, however, and in two or three slashes, severs the tentacles and frees GOLIATH, who goes back into the fight. Enraged, he grabs one of the drones and slams it into the window frame, smashing it utterly. BROOKLYN makes good headway, too, slashing down several. Suddenly, the remaining drones circle up and depart rapidly. In the distance, police sirens approach. BROOKLYN looks around him, and then sheaths his sword.
BROOKLYN
We better get out or we're going to take the blame for this one, I suppose.
GOLIATH
Up and out, then.
They leap out and get up onto the building facade, and begin climbing up rapidly as the first patrol cars arrive. The patrolmen, including KYLE MILLER, jump out to survey the situation. One of them looks up and points.
PATROLMAN
Up there, look!
They do. Miller draws his gun and aims at them, but by then they are out of comfortable range. He lowers his gun, and scowls.
EXT. SCENE - LOWER WACKER DRIVE. (NIGHT)
There is a dark stretch of Lower Wacker Drive, tucked back well away from traffic where even the rats won’t go. The trash piles up there, the trash from the road and the city above just as much as the people who have been discarded from city life. A dozen people in shabby clothing are hanging around here with nobody else to lean on and nowhere else to go.
A newcomer shyly picks her way into this group. This is CATHY, a young woman, clearly not familiar with the social structure of this group. After some work, she finds an open, dry spot on a part of the structure. She hoists herself up and wraps herself in herself, trying to hide, and trying to hold off the chill, giving the world a look like a kicked dog, hostile yet terrified. From some distance, a man (WILLIAM) approaches, weather-worn and limping. CATHY turns her glare on him.
WILLIAM
Hey. You all right? You know, you might not want to stay there too long.
CATHY
Why’s that?
WILLIAM
Well, it’s just that Arthur’s claimed that spot already.
CATHY
I don’t see his name on it.
WILLIAM
He doesn’t need to put his name on it. He’s a mean drunk. Everyone down here knows that.
CATHY
Yeah?
WILLIAM
Yeah.
CATHY
He out getting mean, then?
WILLIAM
You could say that, I guess.
CATHY
How mean does he get?
WILLIAM
Mean enough he sent Paul to the hospital last week. Not mean enough to get lost coming back, though.
CATHY
That’s pretty mean, then.
WILLIAM
Come on. I got space over by me if it’ll work for you.
CATHY
All right.
She slides off the structure, and they walk together.
WILLIAM
You’re new here.
CATHY
What do you think?
WILLIAM
It wasn’t a question. I’m kind of new here myself. Call me William.
CATHY
Cathy. Tell me, you don’t look like a William.
WILLIAM
Heh, no. Street name.
CATHY
Street name? What, you wanted by the cops or something?
WILLIAM
No, nothing like that. Just don’t want to connect this up with my old work.
CATHY
What was that?
WILLIAM
Construction. I was a top drywallero for a couple of years. Then I twisted my knee, and then the market shut down, and, well, it never quite got any better.
CATHY
Too bad.
WILLIAM
Yeah, too bad. What’s your story, Cathy?
CATHY
Not much to tell. Less of it I want to tell.
WILLIAM
Suit yourself. Your life. Here.
They arrive at a bedroll on an adjacent part of the structure.
WILLIAM
I can shift down a little, make some room for you.
CATHY
And in return?
WILLIAM
My intentions are honorable, milady. Don’t worry about it.
CATHY
I do worry about it, thanks.
WILLIAM
Well, like I said, it’s your life.
He hoists himself up on the bedroll and begins shifting it over a little to make room.
WILLIAM
But, the way I see it, if you got nothing else down here, may as well have someone to talk to.
CATHY looks at him, curiously, as he works. Finally, she boosts herself up onto the structure. WILLIAM gives her a small smile.
WILLIAM
Nice to meet you, Cathy.
CATHY
Well, I guess it’s nice to meet you too.
WILLIAM
How long you been on the street?
CATHY
What’s it to you?
WILLIAM
Well, it’s just been that I’ve been out here five years already, and I’ve picked up a few things. Happy to share ‘em, but I didn’t want to tell you anything you already know, and get boring.
CATHY
About a month.
WILLIAM
That short, huh?
CATHY
Longest month of my life, I swear.
WILLIAM
Yeah. I guess it could be.
Around the corner comes a multi-passenger van, driving slow on the service road, passing the encampment. It pulls up to a stop. JIMMY LOCKS and his assistant get out.
JIMMY
Folks! Hello, everyone! We got jobs for those who want them!
MAN
How much?
JIMMY
Twenty an hour, cash.
This definitely draws attention, and several people make their way over.
WILLIAM
Cathy, I think you must be my good-luck charm. C'mon, let's go see what they got.
CATHY
I guess.
WILLIAM
You guess? C'mon, twenty bucks an hour's good money around here.
CATHY
What do you think they're paying for? What sort of work?
WILLIAM
Let's find out. C'mon.
He hops down, and CATHY reluctantly follows. He limps over to the van where four others are rapidly signing forms on clipboards. As they sign, they get into the van.
JIMMY
Trabajo? You want work?
WILLIAM
Depends on the work. What you got?
JIMMY
Simple enough. Lab work, light stuff.
CATHY
What kind of lab work?
JIMMY
Well, come along and you'll see.
WILLIAM
I got a bum knee. That going to be a problem?
JIMMY
No. Actually, we may be able to help you with that.
WILLIAM
Oh yeah? Let's see it.
JIMMY hands clipboards to WILLIAM and CATHY. They read. CATHY takes hers away to get into better light.
JIMMY
Miss? We need that back.
CATHY
I want to read what I'm signing.
WILLIAM
What is it?
CATHY
I'm not gonna get burned on something like this twice.
JIMMY
It's just routine.
CATHY
It's routine for me to read this stuff, too.
WILLIAM
She has a point.
JIMMY
Well, that's all right and all, but we only got eight seats and we got five people so far. When we fill up, we go.
CATHY and WILLIAM look at each other.
WILLIAM
It's good money.
CATHY
I know, but...
WILLIAM signs the paper, resignedly, and hands the board back to JIMMY, who looks at CATHY expectantly. She finally signs and hands it back to him.
JIMMY
Welcome aboard.
WILLIAM and CATHY get into the van and get seated.
CATHY
I hope you're right about this.
WILLIAM
That makes two of us.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
GOLIATH and BROOKLYN are talking to the others.
BROOKLYN
So that's when we left.
BROADWAY
They didn't get any of the jewelry, though?
BROOKLYN
Not much, anyway. They were more focused on making a scene, I think.
HUDSON
Which might suggest this was not simply a burglary. If it would come after you, that could have been their goal.
BROADWAY
Right.
GOLIATH
This is true. But I think it is just as likely they were inferior machines.
HUDSON
Aye. Still, it may be better to be alert. Even an inferior machine could be dangerous.
BROOKLYN
Any of this ringing a bell for you?
LEXINGTON
Not really. That kind of drone's common enough, but to have a whole fleet of them working like that isn't. Someone has resources.
GOLIATH
And someone is able to deploy them against the city and against us.
BROADWAY
I don't like the sound of that.
The roof door opens, and ERIC SANCHEZ (in uniform) and MATT enter.
LEXINGTON
Neither do I.
MATT
Evening, guys.
SANCHEZ
Hello.
GOLIATH
Officer Sanchez.
MATT
Did something happen downtown?
GOLIATH
Quite a lot.
SANCHEZ
So I heard. Want to talk about it?
GOLIATH
Perhaps. Why?
SANCHEZ
Word is that you robbed a jewelry store.
GOLIATH
That is untrue.
BROOKLYN
We were downtown, we saw someone smash up the store, we intervened.
SANCHEZ
And who smashed up the store?
GOLIATH
A fleet of drones.
SANCHEZ
Oh, really?
LEXINGTON
Not mine. Don't look at me.
SANCHEZ
'Cause I got people saying they saw you flee the scene.
GOLIATH turns to face him down, and crosses his arms.
GOLIATH
And which people would that be?
SANCHEZ
Couple of patrol guys downtown.
GOLIATH
And you believe them?
SANCHEZ
I believe they saw you leaving.
GOLIATH
Officer, if you feel the need, I will go to the police station and answer any other questions that you may have.
SANCHEZ
It isn't necessary, Goliath.
GOLIATH
I would hope not. We have done nothing wrong.
SANCHEZ
What is necessary is for you to know that the main one saying you were there is one of the Quarrymen's main cheerleaders on the force.
GOLIATH
Cheer leaders?
MATT
Advocates.
SANCHEZ
So I'd suggest that you need to be more careful.
BROOKLYN
Officer, we have been dealing with the Quarrymen for years, some of us for decades, really. We know all about them. We also know that it'd play right into their hands for us to stand by while the city gets wrecked by the kind of people who'd run the drones we ran into tonight.
GOLIATH
We will not be prevented from protecting this place by their suspicions.
SANCHEZ
I never suggested that you should. Just that you should be careful about them.
HUDSON
There is no point to that. Whatever distance we keep, they will take up.
GOLIATH
Every time.
SANCHEZ
So if that is the case, then how do we show them you're innocent?
GOLIATH
You do not. It would be a waste of effort.
SANCHEZ
All right, fine. How do we show everyone else you're innocent?
BROADWAY
Has there been anything else like this recently?
SANCHEZ
Not in my district, I don't think. I can ask around. Seems like we have had a few smash-and-grabs like that with no suspects.
BROADWAY
But no pattern, I guess.
SANCHEZ
Someone smashes out the front of a store and makes off with the goods. Not much more of a pattern that I know of.
BROADWAY
No, it's not.
SANCHEZ
I got a guy in Major Crimes, though. I can ask him if he's got anything.
HUDSON
You got a guy?
SANCHEZ
I have a friend there. An acquaintance.
MATT
A guy. You know?
HUDSON
Is your guy any good?
SANCHEZ
He's all right.
HUDSON
Hardly glowing praise, officer.
SANCHEZ
We're tight on staff and we're overworked. We take who we can, he's actually good at his job, and I'm pretty sure he has no interest in the Quarrymen.
GOLIATH
Regardless of your guy, it may be best if we broaden our patrols and see what we can locate on our own.
SANCHEZ
And then what?
GOLIATH
Then we will handle it, with or without your guy.
SANCHEZ
Make it "with," please. I don't want to give the Quarrymen any more on you than you have to.
GOLIATH
We will do what we can.
SANCHEZ
Fine. I have to go, I'm supposed to be on patrol.
MATT
You need me to let you out?
SANCHEZ
I know the way.
He leaves.
MATT
Getting touchy?
GOLIATH
He does not seem to take us seriously somehow.
MATT
Why's that?
BROOKLYN
A couple of those drones tried to pick up Goliath tonight.
MATT
How'd that work out?
BROOKLYN
Nearly got him.
MATT
What? Really?
GOLIATH
Yes.
BROOKLYN
(tapping his katana)
I had to disarm them.
MATT
You're all right, though?
GOLIATH
For now, yes.
BROOKLYN
Disarm them. By cutting off their...
MATT
Got it, thanks. All right. Anything I can do to help?
GOLIATH
Broadway?
BROADWAY
Not right now. Until we know more about what we're dealing with, better for you to stay, well...
MATT
Out of the way?
BROADWAY
I was hoping to put it some other way.
MATT
That's fine, I get it. You need me to keep Officer Sanchez out of your way too?
GOLIATH
No. He does mean well. I have little doubt of that.
MATT
I'm sure, but he did come over tonight asking me to let him up here to talk to you. If you would rather I didn't do that, I won't.
GOLIATH
It does not trouble me.
HUDSON
Use your judgment, Matt. If he is badly dispositioned, it may be better to keep him away.
MATT
I'll do what I can.
GOLIATH
And, thank you.
MATT
For letting him in?
GOLIATH
For your concern.
MATT
Always.
INT. SCENE - LABORATORY. WAITING ROOM.
A bare room with two doors on opposite sides, a number of chairs, a couple of tables, and some boring magazines (maybe a couple of “Highlights for Children” too). JIMMY opens one door and enters, followed by the people from Lower Wacker Drive, including WILLIAM and CATHY.
ZIMMY
Come in. We have a little exam we need you to go through before we can get you started.
(indicating one of the extras)
You’re first. The rest of you just make yourselves comfortable and we’ll get to you as quick as we can.
WILLIAM
How long you think?
JIMMY
Not long.
WILLIAM
Long enough I can get a chance to read that paper I signed now?
JIMMY
Let me see if our copier’s working.
CATHY
Can I get a coffee or something?
JIMMY
If you have fifty cents for the machine.
CATHY
You can’t advance me?
JIMMY
I’ll see what I can do.
He leaves through the other door, taking one of the people with and closing the door behind him. WILLIAM walks around the room, examining it. The others take their seats.
CATHY
You heard the man.
WILLIAM
Yeah, I did.
He tries the door that they entered through. It is locked.
CATHY
Why don’t you take a seat, then?
WILLIAM
Because something is weird here.
He tries the other door. It, too, is locked. Defeated, he takes a seat next to CATHY and stretches out his bad knee. She looks at him.
CATHY
It wouldn’t hurt so bad if you’d just settle down, y’know.
WILLIAM
Yeah. I know. I just get restless when I’m locked in a strange room with strangers. Personal quirk.
CATHY leans back, bundling herself, and sighs deeply. WILLIAM looks at her, concerned.
WILLIAM
You okay there?
CATHY
I’m fine.
WILLIAM
You don’t look fine. You hurting?
CATHY
What’s it to you?
WILLIAM
Been there before. This knee’s even more of a bum when I can’t afford to take care of it. You know what I mean?
CATHY
Yeah, I guess so.
WILLIAM reaches down and unrolls something from his sock. (How much of this we see and how much needs to be obscured isn’t something I want to settle now, but he’s taking a couple of hydrocodone tablets out of hiding.) He passes it to CATHY.
WILLIAM
There. That might help you. Have that when your coffee gets here.
CATHY
Yeah. Thanks.
WILLIAM sits back in the chair and shuts his eyes.
CATHY
You doing all right there?
WILLIAM
I’m fine. Just kind of tired.
CATHY
You want to split the coffee when it comes?
WILLIAM
Yeah, I would. Thanks.
INT. SCENE - POLICE STATION. BATHROOM.
SANCHEZ, fresh out of uniform, is washing his hands. KYLE MILLER comes up alongside of him and begins to do the same.
MILLER
Sanchez.
SANCHEZ
Miller.
MILLER
You’ve been busy lately.
SANCHEZ
Maybe so.
MILLER
Definitely so. There’s a friend of ours over in Property Crimes says you’ve been asking about smash-and-grabs. Something going on?
SANCHEZ
Police work, bud. That’s all.
MILLER
Is it?
SANCHEZ
Yeah.
SANCHEZ shakes his hands out into the sink and goes to dry them. MILLER remains at the sink, looking at him.
MILLER
You working a lead, or you working on something else?
SANCHEZ
I don’t know why it would matter to you. Just working.
MILLER
Well, I mean, I could tell you where you ought to be looking. Then again, I hear maybe you’ve already been looking there, without seeing.
SANCHEZ
Miller, I’m going off duty. I got a pretty good idea what you’re trying to tell me, and I don’t have time for it.
MILLER
You really ought to be making time.
SANCHEZ
And you really ought to be minding your own business. If you’re not going to do that, at least get to the point.
MILLER
What do the gargoyles have to do with these robberies?
SANCHEZ
They’re trying to stop them.
MILLER
And you’re sure of that?
SANCHEZ
Yes.
MILLER
So why’d the store lose about three grand worth of merchandise?
SANCHEZ
You tell me.
MILLER
Why do you think that happened?
SANCHEZ
You tell me. Maybe they shoulda washed their hands before working the case instead of after so their fingers weren’t so sticky.
MILLER
What’d you say to me?
SANCHEZ
I said nice weather we’re having. I’m gonna go home and enjoy it.
MILLER
Tell Ellen hi for me.
SANCHEZ exits. MILLER dries off his hands, and then takes his phone from his pocket and places a call.
MILLER
Yeah. It’s me. Yeah, sounds like they’re getting involved in them, all right. You bet.
He hangs up.
INT. SCENE - LABORATORY. WAITING ROOM.
Three people remain: WILLIAM, CATHY, and one extra (reading a magazine). CATHY has no coffee, but she is sitting somewhat more relaxed than before. All of them are bored and nervous. The back door to the room opens. JIMMY enters.
JIMMY
Cathy?
CATHY
Yeah?
JIMMY
Your turn. Come on.
She stands nervously, and then looks at WILLIAM.
WILLIAM
Did you find a working copier yet?
JIMMY
We’re still looking. Don’t worry, you’ll get it.
WILLIAM
Because she kind of wanted to have a look at the paperwork too.
CATHY
Yeah.
JIMMY
Don’t fret. We’ll get it to you. We just need to get this out of the way first. Come on.
CATHY
All right.
WILLIAM
Are you sure?
CATHY
Just a stupid medical thing. It’ll be fine. It’s fine.
WILLIAM
All right. I’ll see you later, right?
CATHY
You bet.
She suddenly takes his hand and squeezes it, and then follows JIMMY out of the room.
INT. SCENE - LABORATORY. EXAM ROOM.
CATHY follows JIMMY into an examination room. This is white, very white, with a white exam table in the middle of the room and little else. The table itself is of an unusual design.
JIMMY
Just lie down on the table, would you please?
CATHY
You need me to get undressed or what?
JIMMY
Whatever you like.
CATHY
What kind of exam is it?
JIMMY
A quick one. Get settled.
He leaves and closes the door. She takes off her coat and puts it aside, sits on the table, and then leans back. She has just enough time to relax, then, snap! The headrest of the table gets hold of her neck, holding it down, and the sides fold up, clamping her arms down. She struggles against this. Beyond the head of the bed, a panel opens in the wall. She looks back over the top of her head (so upside down into the camera). Toward her float two androids. One carries a gold-colored pan between its hands, about the size of a drone. The other bears a nasty circular saw, which starts up. CATHY screams.
INT. SCENE - LABORATORY. HALLWAY.
Outside of the exam room, JIMMY stands, filing his nails and humming tunelessly to himself. One of the ball drones hovers nearby. A red light shines over the door. No sound escapes from the exam room. After a moment, there is a chime, and the light turns green. He puts away the file, opens the door, looks in, and recoils.
JIMMY
Ugh, I hate a bleeder. (To the drone) Get a mop, will you?
EXT. SCENE - GOLD COAST. (AERIAL, NIGHT)
Caption: Tuesday, February 19, 2013. 8:43 PM. Gold Coast, Chicago.
LEXINGTON and BROADWAY are gliding through the night on patrol, looking around below themselves.
BROADWAY
This looks about right. If they’re going to make off with any kind of loot, this would be the kind of place for it.
LEXINGTON
Not just this, though, right?
BROADWAY
They could hit closer to the lake, I guess, but they just did that. Seems kind of risky to hit the same spot twice.
LEXINGTON
If they’re aiming to hit any spots at all.
BROADWAY
What else would they be doing?
LEXINGTON
I don’t know. But trying to make off with Goliath that first time isn’t a good sign of this just being a burglary ring.
BROADWAY
No, I guess not.
There is a boom below, and a bit of screaming.
LEXINGTON
I guess we’re about to find out. There they are.
BROADWAY
Come on.
They bank and descend toward the explosion.
EXT. SCENE - OAK STREET. (NIGHT)
The front of a very upscale jewelry store has been blown completely off. The scene in front is a war zone. A number of ball droids are busy rummaging through the showcases, but outside there are three or four of the faceless androids as well. They direct swarms of the ball droids around. One of the androids gestures across the street. In response, a flotilla of ball droids attacks a watch store there, blowing out the front window and swarming inside. From above, BROADWAY dives into one of the androids, sending it sprawling into the street, as LEXINGTON lands in the middle of the action, fangs bared, eyes lit, ready to rumble.
LEXINGTON
You want it? Come and get it.
One of the androids rushes him. He slips away from its grasp, but pulls its arm down, toppling it into the street. It kicks, somersaults backward, and regains its footing, but before it can resume attacking LEXINGTON, BROADWAY comes along side and slugs it hard in the head, spinning it around and throwing it to the ground. Several of the ball droids dive in to join the fight. BROADWAY grabs at one of them. It begins to try to get him with its tentacles. He winds up a throw.
BROADWAY
Four in the corner!
He flings it away from himself and into the flock of droids, knocking them out. LEXINGTON joins in.
LEXINGTON
No, try this one. For two points!
He leaps, grabs one out of the air, dribbles it against the street (the droid thudding terribly), and then throws it up against the building. It smacks the building and then falls down through the jewelry store’s sign, an oversized engagement ring.
BROADWAY
Like it, like it. Watch this one!
He nabs another ball droid from overhead. He rapidly passes it between hands, preventing it from getting a grip on him, and dribbles it to the same effect. One of the androids approaches to block him. He passes to LEXINGTON, who dribbles around the droid. He chucks the ball droid at the android, who is discombobulated. BROADWAY takes the rebound from there, dribbles twice, and then jumps up onto the adjacent building to avoid another android. From there, he pitches the ball droid through the sign, making his shot.
BROADWAY
From downtown...yes!
He jumps down off the building. Another ball droid is diving for LEXINGTON, but BROADWAY swoops in and captures it. He dribbles a bit; two of the androids work to block him in. He jumps. Both androids leap in the air and keep up their block. BROADWAY passes to LEXINGTON, who dribbles, and then skitters along the street to keep clear as the androids approach. He jumps up on the rubble, and goes for a jump shot to sink the ball through the sign.
This goes badly.
As he makes the shot, it’s clear that the ball droid has sunk its tentacles in firmly, and it holds him tight.
LEXINGTON
Hey. Hey!
Two more of the ball droids rapidly dive in, wrapping their tentacles around LEXINGTON and firmly cocooning him on the street. LEXINGTON struggles fiercely against this, but he is rapidly overcome by them. He cries out, but they are holding him tight; his cry for help comes out as more of a squeak.
LEXINGTON
Broadway. Help me.
BROADWAY
Lex!
He bounds toward LEXINGTON. One of the androids tries to stop him and is immediately tossed aside. Another ball droid dives at his legs and snares him, tripping him up. He kicks, but his legs are firmly tied up. He finally flipper-kicks the ball droid into the street; it explodes, and he is able to get loose.
But by then it is too late. One of the androids has gotten hold of LEXINGTON and flies away into the night with him.
BROADWAY
No! Lexington!
BROADWAY leaps to the building and begins climbing rapidly, then takes off into the night.
EXT. SCENE - GOLD COAST (AERIAL, NIGHT)
The android, with a cocooned LEXINGTON in its arms, flies along. Not too far behind is an enraged BROADWAY, making the best time he can. The android looks back at BROADWAY, and then goes to full throttle, pulling away from him. BROADWAY roars angrily in response, but falls back. The android flies off into the night.
LEXINGTON growls and struggles as they fly along south toward downtown.
LEXINGTON
You get me out of this or you are going to be in big trouble, pal!
ANDROID
On the contrary. We will be very happy.
LEXINGTON
And who’s we?
ANDROID
You and us.
LEXINGTON
I’m not into this sort of thing. Get me out!
ANDROID
Now, would you really pass up the opportunity to become what you have always admired?
LEXINGTON
What’s that?
ANDROID
Me.
LEXINGTON looks at it, shocked. He cannot come up with anything more to say, though: the ANDROID explodes, leaving LEXINGTON hurtling through the sky like an errant soccer ball, tumbling toward earth. His struggles increase, but the ball droids are unrelenting. Then, suddenly, he is caught up again in two gold metallic arms, and flown back into the sky.
LEXINGTON
I don’t want to become you! Let me go!
COLDFIRE
Whatever do you mean by that?
LEXINGTON is stunned by the sound of the cool, metallic, feminine voice, and then grins widely.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
GOLIATH, HUDSON, BROOKLYN, and BRONX are on the roof of the station. BROADWAY lands first. He is excited, not panicked.
GOLIATH
What has happened?
BROADWAY
We ran into trouble, but that’s not the important thing. Look!
COLDFIRE lands, carrying LEXINGTON like a sack of laundry. She sets him down on the roof, and then looks at the others.
COLDFIRE
Well. It is about time you turned up.
GOLIATH
Coldfire?
COLDFIRE
Hello, Goliath. It has been far too long.
The others (except LEXINGTON) are jubilant, and they surround her.
HUDSON
Daughter, can it really be you?
BROOKLYN
How’s Katana? How’s Nashville?
COLDFIRE
They’re fine, we’re all safe.
GOLIATH
But where?
COLDFIRE
Pittsburgh. It is a long way from here.
HUDSON
How did you come to be there?
COLDFIRE
We got cut off there during the day. One of us would have gone with you, but I was waterlogged and Coldstone had to take charge of the others.
MATT enters from the building and comes up on the scene, wide-eyed. BROADWAY looks over at him, grinning. MATT looks at LEXINGTON, and then back at the group.
MATT
Um...did I interrupt something?
BROADWAY
No, you’re just in time. Coldfire, this is Matt Pegram, one of the locals. Matt, this is Coldfire, one of the clan members we’d thought we lost.
COLDFIRE
How do you do?
MATT
How do you do? Um, sorry, are you a robot, or...
COLDFIRE
My body is machine. My spirit is that of a gargoyle.
MATT
Okay. And, um, is Lexington about to pupate, or is this sort of a recreational thing?
LEXINGTON
Neither. Could someone get these things off me? One of them is starting to get...FRISKY!
He yelps this last word as a tentacle goes wandering where it should not.
COLDFIRE
Oh, of course. Just a moment.
She deploys a plasma cannon from her arm. She concentrates on LEXINGTON.
COLDFIRE
Let me just keep the power down.
LEXINGTON
Please do.
She fires a weak blast from the plasma cannon into the head of one of the ball droids, which squeaks and releases LEXINGTON. She repeats for the second and third, and LEXINGTON wriggles free of them. The three droids writhe helplessly on the roof. LEXINGTON goes over to COLDFIRE.
LEXINGTON
Thank you!
COLDFIRE
Don’t mention it.
GOLIATH
Welcome to Chicago, sister.
COLDFIRE
I am glad to have found you here. I would have been happier were it not for the trouble I found afflicting the clan.
GOLIATH
What trouble is that?
BROADWAY
Another burglary. Another attempt to capture one of us.
LEXINGTON
That nearly worked.
He goes to examine one of the ball droids.
LEXINGTON
But now, maybe we have a chance to figure out who’s behind all this.
INT. SCENE - HUMBOLDT STATION.
LEXINGTON has the droid laid out on the workbench, and is going over it with tools. MATT stands behind him, looking on. The others are gathered around COLDFIRE, talking; BRONX is napping happily at her feet.
GOLIATH
You say that you were cut off.
COLDFIRE
We were, in multiple senses.
EXT. SCENE - STEEL YARD.
The hopper car is rolling along toward a loading line, where a grinder is dumping shredded steel into other hopper cars. Inside, COLDSTONE is trying to rouse COLDFIRE; around her, the others of “Clan East” (Katana, Nashville, Tachi, Angela, and Fu-Dog) are stone.
COLDFIRE (VO)
We came into the city during the day. Coldstone says I was drenched by the storm, somehow, but I do not remember.
COLDSTONE sits up and looks over the edge of the hopper, alarmed by the approach of the loader. He looks ahead of him: the car ahead is empty, and not the one he is seeking. He takes up COLDFIRE and lifts her out of the train, placing her on the ground in a nearby wooded grove adjacent to the river. He returns and lifts Katana out of the car.
COLDFIRE (VO)
He says it took all he had to get us into the clear in time. But by the time he did, you had departed.
BROADWAY (VO)
Not by choice.
COLDFIRE (VO)
No, indeed not.
EXT. SCENE - RIVERBANK.
A wooded riverbank along the Monongahela southeast of Pittsburgh. COLDSTONE tends to COLDFIRE and has set a small campfire, by which she is slowly drying and reviving. Around them are the others, still in their sleeping positions.
COLDFIRE (VO)
We did the best that we could that first day. The priority was to survive. But the second priority was to determine where we were and what we had available.
COLDSTONE goes to the river bank and looks up river, at central Pittsburgh in the distance.
HUDSON (VO)
A familiar story.
COLDFIRE (VO)
The first night, we went up the river to the city. We thought that perhaps you would have ended up there.
EXT. SCENE - MT. WASHINGTON, PITTSBURGH. (NIGHT)
The seven gargoyles line up on the bluff, overlooking downtown Pittsburgh.
COLDFIRE (VO)
Of course, we were disappointed. For a time, we feared you had been lost.
BROOKLYN (VO)
The feeling was mutual.
COLDFIRE (VO)
So we set out to establish ourselves in Pittsburgh for the duration. We worked to get food and water, and a place to roost during the day.
MATT (VO)
And friends?
COLDFIRE (VO)
Alas, no. Coldstone felt it was inadvisable to contact the humans more than necessary.
HUDSON (VO)
Understandable.
INT. SCENE - HUMBOLDT STATION.
MATT
How come?
HUDSON
Human friends are hard for us to come by, for one thing. For another, Coldstone has a bad history.
COLDFIRE
So he does.
MATT
Sorry to hear that.
COLDFIRE
Which does lead me to ask: how did you gain your companion?
BROOKLYN
I got shot our first night here.
COLDFIRE
And you are keeping him prisoner?
BROOKLYN
No! No, nothing like that. Someone else shot me. Matt saved my life.
COLDFIRE
Oh, that is refreshing.
MATT
Well, I was in the right place at the right time, that’s all.
LEXINGTON
Hey.
MATT
What?
LEXINGTON
Don’t minimize it.
MATT
No, no, of course not. It was my gain.
GOLIATH
You have kept yourselves occupied in Pittsburgh?
COLDFIRE
Somewhat, yes. It has had its own problems. It has been a difficult few months.
LEXINGTON
How?
COLDFIRE
We have wanted resources. We have been isolated. The clan has been...brittle.
GOLIATH
That is unfortunate.
LEXINGTON
But at least we know where you are, now.
COLDFIRE
Indeed. And we would not have found you except from some very interesting photographs that appeared online.
INT. SCENE - LIBRARY.
A darkened library. Nashville and Tachi are working on one of the computers, searching.
COLDFIRE (VO)
It was the children who discovered them. They had become restless, and hoped for news.
On the computer, several social media posts scroll by. They stop on a photo of a grinning BROADWAY posing with some people in costumes, showing off his trophy and giving a thumbs-up. Nashville and Tachi exchange astonished looks.
BROADWAY
Halloween?
COLDFIRE
Indeed.
MATT (VO)
Oh? How interesting were these photos?
INT. SCENE - HUMBOLDT STATION.
BROADWAY
Here, check it out.
He rummages in a stack of things along one wall and pulls out his trophy, still scarred from the bullet hit. He tosses it to LEXINGTON, who hands it to MATT, who examines it.
MATT
You entered a costume contest?
BROADWAY
Yes. And won.
MATT
(indicating the bullet scar)
And this?
BROADWAY
I got shot at not long after.
MATT
Seriously?
BROADWAY
Yeah, it was an eventful night.
EXT. SCENE - MT. WASHINGTON, PITTSBURGH. (NIGHT)
Nashville and Tachi are explaining to the others, who are discussing.
COLDFIRE (VO)
We talked it over. It seemed almost too good to be true, but we realized this might be a message. And if it were, it was worth investigating.
COLDFIRE and COLDSTONE hold hands at the edge of the bluff as the others look on. They look deeply at one another.
COLDFIRE (VO)
We spent many spirited nights debating the best method for that. But it eventually became clear that I would need to go. Only Coldstone or I could possibly cover the distance safely, and only one of us could go without leaving the clan unprotected during the day. So I went.
COLDFIRE leaps off the bluff, turns on her jets, and flies off into the night.
INT. SCENE - HUMBOLDT STATION.
LEXINGTON is prying more vigorously on the drone. MATT lends his hands to steady it as he does.
GOLIATH
You were right.
COLDFIRE
As were you. It was a clever ploy.
GOLIATH
I am pleased that it has worked.
BROOKLYN
And everyone else is okay?
COLDFIRE
The clan in Pittsburgh is dispirited. Being separated has been hard. I look forward to returning with the news. More so to reuniting the clan.
GOLIATH
So do we. Your arrival is most encouraging.
BROADWAY
Can we talk to them? We know where they are.
GOLIATH
Lexington?
LEXINGTON
Yes? Should not be a problem. Now that I know...rrgh, come on!...where you are, I should be able to patch into Coldstone’s comms.
COLDFIRE
He will be most pleased.
LEXINGTON
But before I do, I want to get into this thing.
COLDFIRE
As you should. It is very disturbing that we should face this sort of danger here.
GOLIATH
Better here than in Manhattan. They are wounded enough.
There is a snap, and the dome of the droid loosens up. LEXINGTON begins to work around the edge, prying the dome loose.
LEXINGTON
That’s got it! Now, let’s see what we have here.
He pops the dome completely free and puts it aside. When he sees what is inside, MATT gags, and turns away, suddenly. LEXINGTON scowls and looks horrified.
BROOKLYN
What is it?
LEXINGTON
A brain.
The others are shocked, and come over to see. In the middle of the drone there is a human brain, wired in. Some of the wires are broken or fused from the plasma cannon hit.
MATT
A real brain?
LEXINGTON
Yes. I think so, anyway.
MATT
Oh, my God.
BROADWAY
So what does that make this?
LEXINGTON
A sort of cyborg.
GOLIATH
Whose work is this? Who would do this?
LEXINGTON
Your guess is as good as mine.
GOLIATH
I will not guess. Find out.
LEXINGTON traces some of the burnt wiring with his screwdriver.
LEXINGTON
Well, this goes to an audio circuit, here. Maybe that’ll help?
MATT
Maybe you’d better not.
BROOKLYN
We’ve got to. Sorry.
GOLIATH
Do it.
LEXINGTON reaches in, and swiftly reconnects the wiring. There is a pop from the drone as the audio circuit comes to life, and the drone begins to speak; it is CATHY.
CATHY
--hear me? Hello?
LEXINGTON
Hello?
CATHY
Hello? Who’s that? Is someone there?
LEXINGTON
Yes, I’m here.
CATHY
Help me, please. I can’t see. I can’t move. I don’t know what’s happening. Help me.
BROADWAY
We’ll try to help you. Just hang on.
BROOKLYN
Can you do anything?
LEXINGTON
I think the rest of it’s wired through the dome. Let me put it back together.
CATHY
Please help me, I don’t understand! I can’t feel my hands!
MATT
(retching)
I have to get outside, I’m sorry.
He rushes toward the door, and exits onto the roof.
GOLIATH
Go help him.
COLDFIRE
I’ll do it, if that’s all right.
GOLIATH
Yes.
COLDFIRE follows MATT outside.
BROADWAY
We’re going to help you. Do you have a name?
CATHY
Cathy. I’m Cathy. Where’s William? Is he there? Is William all right?
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
MATT is at the parapet, breathing heavily. COLDFIRE comes up alongside him.
COLDFIRE
Are you all right?
MATT
No. That was horrible. That poor woman, locked inside that shell...
He looks over at COLDFIRE.
MATT
...I mean. I’m sorry.
COLDFIRE
No, you are correct. It is horrible for her.
MATT
Is that...I mean, you...
COLDFIRE
No. My body is a machine, as I said. My spirit has been bonded to it. My flesh is elsewhere.
MATT
Where?
COLDFIRE
Sewn to other flesh to make up my mate.
MATT turns slightly green at this.
MATT
Oh, please don’t tell me that.
COLDFIRE
Here. Take my hand.
She offers her hand. MATT, hesitantly, takes it. She clutches his hand warmly, and MATT relaxes.
COLDFIRE
I am in no pain. I do not suffer. My life has changed, but what of that? Our lives are change, are they not?
MATT
Yes, I suppose so.
COLDFIRE
I have lost some part of myself. I have gained elsewhere: without this body, I could not have come here and we would not have begun to reunite our clan. So I am not sorry for the change.
MATT
I see your point. I’m sorry to get so weird about it.
COLDFIRE
You are not the first.
MATT
I wouldn’t be, I guess. It is a lot to understand.
COLDFIRE
It will most likely be a lot for her to understand as well. She will need guidance. She will need caring for.
MATT
Who doesn’t?
COLDFIRE
Indeed so.
MATT looks down at their hands.
MATT
Thank you for this.
COLDFIRE
I am a gargoyle, and you are a friend of my clan. Of course I will protect you.
MATT
I appreciate that.
She releases his hand.
COLDFIRE
Are you better now?
MATT
Yes. I still need to get some air, but I’m much better.
COLDFIRE
When you are ready, come back inside.
MATT
I will.
INT. SCENE - HUMBOLDT STATION.
LEXINGTON has put the top back on CATHY. She buzzes a bit, and then begins to hover.
LEXINGTON
That should put your video circuits and your motor circuits back online. Can you see?
CATHY turns around, sees the gargoyles, and begins to whimper. She backs away.
CATHY
No, stay away. What are you?
GOLIATH
We are not a danger to you.
LEXINGTON
Yeah. It’s all right.
CATHY
You? You were speaking to me?
LEXINGTON
Yes.
CATHY
What has happened to me?
LEXINGTON
You have been put into a drone, a small flying robot.
CATHY
What?
GOLIATH
Do you remember what happened?
CATHY
I was...we were...we were on Wacker Drive. Downtown. William and I were going to get work. They came by looking for workers. I went for a medical exam, and then...
She sobs.
CATHY
I don’t want to be here anymore.
GOLIATH
They took you off the street to do this.
CATHY
Yes.
GOLIATH
A depravity. Who has done this?
CATHY
I don’t know, I don’t know.
BROADWAY
How did you go in for the exam?
CATHY
They took us. It was a white van.
BROADWAY
And it was on Wacker Drive?
CATHY
Yes.
GOLIATH
It will not happen again. We will go there and we will stop this. Tonight!
EXT. SCENE - LOWER WACKER DRIVE. (NIGHT)
There are more people on Lower Wacker than there were before. They are keeping a lookout, and as the van pulls around toward them, the crowd follows it to a stop. JIMMY and his assistant get out.
JIMMY
Okay, everyone, back, just give us some room. We know you’re eager, but we can’t take everyone at once, so would you please--just, back up, all right?
The crowd presses forward, however: nobody wants to lose the chance at twenty dollars an hour.
There is a howling in the distance, eerie enough that both JIMMY and his assistant look up, alarmed. From out of the darkness, BRONX bounds forward, roaring. The crowd scatters. JIMMY and his assistant draw guns from under their coats and fire at BRONX, who swerves left and right and continues to charge at them. JIMMY and his assistant, realizing the danger, jump into the van, and JIMMY floors it, nearly hitting a couple of the people in the crowd. BRONX tears after the van. He leaps upon it.
JIMMY swerves back and forth, trying to shake off BRONX, but nothing doing. BRONX tears into the top of the van and leers inside. The assistant aims at BRONX point-blank, but BRONX chomps down on the gun and rips it away, then dives inside. JIMMY fails to slow down for the turn at Lake Street, and the van flips and rolls out toward the riverside. From outside, an enraged GOLIATH descends, gets JIMMY by the neck, and pulls him out to the outside of Wacker Drive.
GOLIATH
You will tell me where you have been taking them.
JIMMY
Taking who?
GOLIATH
Do not mock me! You have been stealing human lives.
JIMMY
What, those people?
GOLIATH slams him into the structure.
GOLIATH
Those people are protected. You will answer my question.
JIMMY
I don’t think I will.
GOLIATH
Then I have little reason not to prevent your pillaging more directly.
He turns JIMMY upside down and holds him over the riverwalk.
JIMMY
Oh, no, don’t do that, don’t do that!
GOLIATH
You may perhaps ask your assistant to bring you there, and they may harvest your brain as you have harvested others.
JIMMY
No, please, I don’t want that.
GOLIATH
Where have you taken them?
JIMMY
All right, all right! It’s a lab, 59th and Kenwood.
GOLIATH
This is the truth?
JIMMY
Yes, it is, I swear!
GOLIATH
Very well. You will not do this again.
JIMMY
No, I won’t.
GOLIATH
And to be sure...
He winds up and flings JIMMY out into the river, where he lands with a terrific splash. Sirens begin to approach, and GOLIATH leaps off and glides into the wind as the police begin to arrive. He swoops down over the riverwalk: BRONX leaps up and into his arms, and they glide away into the night. Among the first officers on the scene is MILLER, who jumps out of his car and examines the van, the claw marks in the roof especially. He leans into the van to talk to the assistant.
MILLER
Hey, you see who did this? Hey?
He gets no response, so he goes back down toward the crowd.
MILLER
Hey, who saw this? Anybody?
The crowd wants nothing to do with the cops, however, and begins to disperse. As the other officers begin to help the assistant out of the van, MILLER goes to the riverside and looks out.
MILLER
I know you’re behind this. Got to be.
INT. SCENE - LABORATORY. RECEPTION
All is quiet: the reception area is vacant, though the lights are on. That doesn't last: the door crashes open. GOLIATH enters, followed by HUDSON and BRONX. They are ready for a fight, but one is not coming. They spread out to investigate. As they do, a voice speaks from the desk:
COTTER
Hello, and welcome to the project office for the Cybernetics Interface in Mobile Devices program!
GOLIATH
A recording, nothing more.
They continue to search the office as the recording drones on.
COTTER
We appreciate your interest in the program, however, we are sorry to say that nobody is available to assist you at the moment. If you would please just put your name and phone number on a convenient piece of paper and leave it on the desk, we will be very happy to get in touch with you as soon as someone is available. Thanks for calling!
GOLIATH
Nothing.
HUDSON
Then we proceed. This way.
They go through the door and into the hallway.
INT. SCENE - LABORATORY.
BRONX is first through the door. The ANDROID is there. It turns and addresses them, and as it does, BRONX's hackles go up and he growls.
ANDROID
Hello, candidates! We are pleased to have you join research project ARC7994168637, comma, Cybernetics Interface in Mobile Devices. Welcome.
HUDSON
Another recording?
ANDROID
Unfortunately, we regret to report that a preliminary scan has found you to be unsuitable for the project. Your application will be rejected.
The ANDROID deploys a plasma rifle from its arm and aims at the gargoyles.
ANDROID
Thank you for your consideration.
It fires at them, and they scatter three ways. It begins tracking GOLIATH, who is able to roll out of the way of its second shot. The ANDROID does not get a third shot, as BRONX clamps down on its gun arm and rips it away.
ANDROID
(flatly)
Ow. Ow. Ow. Ow. Ow. Ow. Ow.
The ANDROID deploys the saw from its other arm and swings at BRONX, who leaps aside, still carrying the arm in his jaws. It swings back at HUDSON, who has his sword out, parries, and then cuts around, beheading the ANDROID, cutting off its string of "Ow"s abruptly. The head rattles and rolls into a corner, and the body slumps down to the floor. There is a sudden hum. A video screen deploys from the ceiling, and livens up, and COTTER appears. She scowls at them.
COTTER
First you ignore my very clear instructions to leave a message, and then you wreck a perfectly good grad student. You know, Goliath, you are really beginning to get on my nerves.
GOLIATH
Cotter, this--
COTTER
Doctor Cotter, please. We have been over this.
HUDSON
You disgrace that title, Cotter.
COTTER
Aww.
GOLIATH
How many humans have you consumed in this pursuit?
COTTER
What, this week, or all together?
GOLIATH
In all.
COTTER
Oh, I would think...probably forty or fifty. You know, it is so hard to keep track. I really should run an inventory.
GOLIATH
This will not continue.
COTTER
No, you're quite right. I'm stopping this project as of tonight. I've seen the light, Goliath. Thank you ever so much for that. Why keep pilfering bums and broke humanities majors out of this town when I could find better ones somewhere else?
HUDSON
What is your meaning?
COTTER
Like, say, Pittsburgh?
GOLIATH and HUDSON's eyes flash at this.
GOLIATH
Don't you dare!
COTTER
You really think that I would not have been listening to you? You think I would have given up one of those drones that easily for nothing? Come on.
From the door, several ball drones enter and hover toward them.
COTTER
Of course, now, your minds--
HUDSON
Will not be yours.
GOLIATH crouches for battle, HUDSON brandishes his sword, and the ball drones descend. One is suddenly blasted into rubbish, much to their surprise. BRONX, still carrying the android arm in his jaws, has fired its gun. He bites down firmly and fires again, taking a chunk from the wall. He looks delighted by this. GOLIATH and HUDSON attack, HUDSON cleaving the drones, GOLIATH crushing and flinging them into each other, and BRONX firing wildly around the room and sometimes hitting the drones.
One of BRONX’s hits blows a hole into the wall, through which some computer equipment (blinkenlights) is visible. GOLIATH, seeing this, rips the wall down, revealing a control console. He points to it.
GOLIATH
Bronx!
BRONX looks at it, turns his head, and fires off two shots into the computer equipment. It sparks and flames, the blinkenlights go out, and the remaining droids drop to the floor, lifeless. COTTER is not happy.
COTTER
Yet again you have vandalized my laboratory, Goliath. Have you no pity? Do you know what my insurance rates are going to do?
GOLIATH
You should hope the insurance gets a hold of you before we do, Cotter. The last time was a battle. This is a war.
COTTER
Well, then, time to open up a new front. Buh-bye.
She hangs up the console. There is a shrill whistle from behind the walls, and GOLIATH, BRONX, and HUDSON run from the room as it self-destructs, caving in the walls behind them.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
On the roof, BROOKLYN, BROADWAY, and LEXINGTON are standing together, talking quietly. Apart from them stands COLDFIRE, who is talking to CATHY. The door opens, and MATT enters, followed by SANCHEZ.
SANCHEZ
Where’s Goliath? Is he here?
BROOKLYN
He went down to take care of business.
SANCHEZ
Did that business happen to be on Lower Wacker Drive?
BROOKLYN
Could have been. Why?
SANCHEZ
We just had a big wreck down there. Miller’s talking about a gargoyle attack and he’s getting some attention for it. I thought I asked him to work with us.
BROADWAY
That would have taken too long. They were picking people off. Look.
He points toward CATHY, who’s turned toward them. MATT joins COLDFIRE and CATHY.
MATT
How are you doing?
CATHY
I’m all alone now. I was able to communicate with the others a bit, but that just went dead.
COLDFIRE
They must have succeeded.
MATT
Maybe so. I hope so.
SANCHEZ
What is that?
LEXINGTON
Cybernetic drone. Someone was grafting human brains into those and using them to smash into jewelry stores.
SANCHEZ
Really?
MATT
Yes, really.
GOLIATH and HUDSON land, carrying BRONX.
SANCHEZ
There you are! Do you know how much trouble you’re in?
GOLIATH
More than you think. Cotter is back.
LEXINGTON
Oh, that figures somehow.
HUDSON
It is worse than that. She knows about Pittsburgh.
COLDFIRE
The clan?
GOLIATH
Yes, and she is threatening to harvest them, as she put it.
MATT
No.
HUDSON
Aye, she said something along that line.
BROOKLYN
We’ve got to warn them.
BROADWAY
Right.
As they talk, everyone except SANCHEZ and CATHY gather together. SANCHEZ looks at CATHY, puzzled.
COLDFIRE
Can you get into Coldstone’s communications circuit from here?
LEXINGTON
Maybe, but we may not have time.
MATT
How long will it take?
LEXINGTON
Two, maybe three days.
GOLIATH
Cotter is at some other location. She is using a television to speak to us. It will not take her nearly that long to reach them, I fear.
MATT
I’ve got a better way. I can drive.
CATHY looks toward them, gathered away from her, and at SANCHEZ, still eyeing her with some revulsion. She hovers over to him.
SANCHEZ
Hello?
CATHY
Hello. Could you help me go inside? It’s getting cold out here.
SANCHEZ
Oh, sure. Come on.
They go to the door.
SANCHEZ
Hey, we’ll be inside.
BROADWAY
Okay. (to MATT) How long would that take?
MATT
Eight hours, straight through.
SANCHEZ and CATHY go inside.
INT. SCENE - HUMBOLDT STATION.
Inside, SANCHEZ walks over to the desk and leans against it. CATHY hovers around, looking over the place.
SANCHEZ
They are so stubborn, sometimes. I swear. I just wish that I could get through to them.
CATHY
Yeah.
SANCHEZ
I’m trying to help them. I really am. But they’re making it so hard by ignoring me.
CATHY
I bet.
CATHY has hovered over by one of the high-voltage cubicles, screened by an expanded wire mesh on which hangs a large, simple sign: “DANGER - ALIVE”. She stares at the sign silently. SANCHEZ’s monologue slowly fades out as she does.
SANCHEZ
I mean, we’re friends. We should be, anyway, after all this time. Ellen’s even been asking if they wanted to come over for a barbecue some time once the weather improves...
CATHY
(internally)
Please. Make it quick.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
MATT
No, no problem at all. Brooklyn’ll tell you.
BROOKLYN
That wasn’t the most comfortable ride of my life, you know.
MATT
Well, we could set up the tow rope too, if that works better, and--
He is cut off by a tremendous explosion from the station. All of them duck in response, and then look toward the building. SANCHEZ rushes out of the door, falls to the roof, and looks back. The blast has subsided as suddenly as it came. BROADWAY rushes to his side; he is unhurt, but stunned. MATT comes up to him next.
MATT
What happened? What did you do?
SANCHEZ
Nothing! I didn’t...she...she went...
MATT comprehends immediately, and rushes inside, followed by COLDFIRE.
INT. SCENE - HUMBOLDT STATION.
A plume of black smoke curls up from the cubicle as an alarm rings somewhere inside the station controls. MATT cautiously goes over. The metal mesh is partly burned, and below it on the floor lies what is left of one metal tentacle. He looks at it in stunned horror, and picks it up.
COLDFIRE
Did she...?
MATT
Yeah. Yeah.
The telephone rings as BROADWAY, SANCHEZ, and LEXINGTON come in. MATT goes to the desk and answers the phone.
MATT
Humboldt. Yeah. Yes, we did. Uh, I don’t know, I think something must have got across the Bus Four side of the breaker. No. No, I wasn’t there, something from the ceiling.
He looks over at the others and gulps softly.
MATT
Yeah, I’m fine. No, you’ll need a mechanic out here to clean it up, I think. All right. Thanks. Bye.
He very quietly hangs up the phone and goes out to the roof, handing the remains of the tentacle to SANCHEZ as he goes. SANCHEZ looks down at it in his hand, clutching it.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
MATT is standing on the edge of the roof, looking out over the city, alone. Behind him, GOLIATH approaches, and silently puts one hand on his shoulder. MATT sighs and looks down.
MATT
She was just so...lost.
GOLIATH
Not lost. Stolen.
MATT
Stolen, then. Whatever it was. I can’t begin to imagine what she went through. Don’t want to imagine it.
GOLIATH
Neither do I.
MATT
And I don’t want to see it again. You think this is what they plan to do with the rest of your people?
GOLIATH
Yes.
MATT
I don't want to see that again.
GOLIATH
You are needed. Coldfire will need to return to Pittsburgh to warn the others. She will not travel alone this time. We do not.
MATT
Then, I think, we’d better get started. Station mechanics will be here soon anyway.
GOLIATH
Give it half an hour, at least. For Cathy.
MATT
Yeah. For Cathy.
And they look out over the night, contemplating.
=END=