Heaven (pilot)
A fictional exploration of THE scenario of this century
I wrote this back in the year 2011, working the story with my spouse Vonne and the script with daughter Emily and son Jerome. We are all great believers and (some of us) great purveyors of fan fiction, so I crafted this exploration as a “proof of concept” for a book I may someday write in retirement (always good to have some impossible task hanging out in front of your face like the carrot on a string on a stick tied to your harness).
At the time, I was sort of series “doctoring” for a major premium cable network, which was fun, and so I wanted to try my hand at penning a teleplay — the pilot for an imagined series that this future book would inspire.
In effect, this was a creative outlet for me at a tough moment in my life, and I deeply valued it as such.
I share it now because … I can.
Note: In an industry presentation, the formatting would be different. Substack limits one’s ability to replicate that, so my apologies.
HEAVEN
© 2017, Barnett Consulting LLC
S1/15 “FINAL HOURS”
FADE IN:
(scene description) Apparent last hours of death-row inmate unfolding to Talking Heads’ 1979 song “Heaven.”
[musical lead-in]
EXT of night sky descending to secure government facility in American southwest desert. INT of van with guards surrounding black-hooded figure in orange jumper. Lights flash from police vehicles. EXT of van pulling up to facility amidst protesters. Close-ups of screaming faces and signs (“Corporate Sanctioned Murder!” “God Is Watching!” etc.). Overhead EXT of media crush as figure guided into facility, where security chief awaits.
Everyone is trying to get to the bar
The name of the bar, the bar is called heaven
INT: inmate escorted down halls, enters medical room, has clothes removed and surrenders personal effects. Sexually-charged tattoos visible on mixed-race skin. Slightly built naked figure appears male but feminine posture. Routine medical check-up. Inmate’s face never shown.
The band in heaven, they play my favorite song
Play it once again, play it all night long
INT: Guard opens cell to admit Catholic priest, who embraces inmate now in white-jumper. Priest and inmate converse solemnly, last rites administered.
Heaven, heaven is a place
A place where nothing, nothing ever happens
INT: execution chamber being set up. Surgically-clad techs check straps on two-armed gurney. Lights dim as tech performs power check. Views from inside witness rooms as two-way mirror-windows are cleaned and curtains tested. security chief oversees, signing presented pads.
Heaven, heaven is a place
A place where nothing, nothing ever happens
INT: inmate surveilled in shower. EXT of protestors forcibly rounded up by police and herded into buses.
There is a party, everyone is there
Everyone will leave at exactly the same time
INT: inmate, now in purple bathrobe, waits in cell. Notified by guard of visitor, then escorted to visiting room where he and black female teenager speak over phones, separated by glass wall. Woman clearly distraught: pleads, hands placed on glass. Overhead INT of guards pulling her away as inmate burying face in hands, sobbing.
It's hard to imagine that nothing at all
Could be so exciting, could be so much fun
INT: inmate back in cell, contemplating end. Leafs through flexible video squares (African father and Asian mother, childhood twin sister, romancing Caucasian spouse, her field work in Africa, adoption of female African orphan, spouse’s cancer fight, somber daughter at boarding school).
Heaven, heaven is a place
A place where nothing, nothing ever happens
INT: inmate head being shaved, along with various body parts, where solutions then applied, along with red sensors. Close-ups of eyes closed, lips reciting prayer?
Heaven, heaven is a place
A place where nothing, nothing ever happens
INT: last meal prepared and delivered to cell. Inmate picks over plate, swallows some bits, later vomits into toilet. Techs respond, and doctor offers sedative shot. Priest consoles inmate sitting in recliner, trying to remain calm.
When this kiss is over, it will start again
It will not be any different, it will be exactly the same
EXTs and INTs: official witnesses arrive. VIPs enter well-appointed observation room, while media endure search and are shunted into bare-bones version. Inmate’s daughter escorted by priest into solitary viewing room.
It's hard to imagine that nothing at all
Could be so exciting, could be this much fun
Split-screen INTs: (a) executioner arrives, inspects chamber, enters small room to side, sets up shop; and (b) security chief on office phone, making way to cell, and discussing with priest outside door. INT from cell shows chief sticking head in and mouthing, “It’s time to go.”
Heaven, heaven is a place
A place where nothing, nothing ever happens
INTs: inmate led down hallways, scattered personnel sneak glimpses. Inmate nearly faints and stumbles. Guards lift back up, and, steadied by priest, his journey resumes.
Heaven, heaven is a place
A place where nothing, nothing ever happens
INT from behind of inmate/retinue ascending sloped hallway to landing outside chamber. Guards open doors, silhouetting group with light. Inmate walks in, with camera pinned to back of head. Once in, camera ascends, centering on crucifix-like, double-armed gurney. Low shot of bathrobe dropping at inmate’s feet. He wears only white compression briefs – and blood-red sensors. Final fixed direct overhead: inmate at foot of gurney, extended arms grasping end for stability, taking in scene of death.
[crescendo note]
Flash title just under the figure of inmate.
[last notes in musical fade]
FADE OUT:
S2/15 “I END AND IT BEGINS”
FADE IN:
(scene description) Inmate is executed, then revealed to be part of scientific experiment of consciousness transfer.
CLOSE-UP of inmate’s face, staring at gurney. Camera pulls back, revealing security chief and priest at side, backed by guards. CUT to surgical techs staring at inmate (hereafter, Pilgrim). Back to CLOSE-UP.
PILGRIM (V.O.)
I know what you’re thinking. I’m thinking the same thing. I’m going to die on that table. I’m not waking up in recovery. I’m not waking up at all.
Pilgrim’ POV, looking down at hands. Flash imagery from previous video squares.
PILGRIM (V.O.)
This is so goddamn crazy. They all stay in the game, but I gotta go. When this is over, they walk, score some food on the way home, put their kids to bed, kiss …
INT overhead: guards guide Pilgrim onto gurney. Others move in and strap him. Close-up of Pilgrim staring into lights. He panics and strains to peer into observation room.
PILGRIM (V.O.)
FUCK! I’ve only got a few minutes left, so let me explain why … why I’m finally letting go of my screwed-up life.
INT: guards step back and exit. Priest revealed against far wall. Approaching, he places hand around Pilgrim’s right ankle. Imagery flashes of heart beating, blood pumping, and fingers sensing pulse. He stares at Pilgrim knowingly.
PILGRIM (V.O.)
My name doesn’t matter. All my data are erased anyway. History records me as Pilgrim, because that’s what they chose to call me. I have no idea what it means to them. Means nothing to me.
CUT to INT: executioner in side-chamber, prepares syringe. Camera tracks from saline bag through tubing that enters chamber through piped hole and then rises to IV needle being inserted into Pilgrim’s left arm. Other tech attaches metal crown of receptors to his bald head. It glows. Doctor enters, nods to executioner through slit window. IV flows.
PILGRIM (V.O.)
Here it comes! (getting scared) So here’s the thing: they all think they own me … what’s inside my head, my body, my entire life. They consume everything they find valuable and throw away the rest, all for some fucked-up fantasy. And I’m letting them because I just want to be gone.
INT: Security chief eyes wall phone. Techs step back as doctor reviews set-up. Doctor gives chief slight nod. Chief glances up to overhead CCTV camera. Phone rings.
SECURITY CHIEF
Sir? (pause) Yes sir.
Security chief hangs up. Cut to INT: Oval Office. Elder Latina POTUS hangs up, distant look on face. CCTV-fed bank of monitors visible in background. PAN to bald, elderly Chinese male sitting in chair, wearing hi-tech glasses and dressed in austere grey Mao suit. He nods approval, smiling ever so slightly.
PILGRIM (V.O.)
So bring it on, motherfuckers! I’ve done my time and this is the only way I’m getting out. If it makes the world less afraid to watch me die, then so be it. I couldn’t care less.
MULTIPLE FRAME INT: curtains pulled in viewing rooms.
SECURITY CHIEF
(into Pilgrim’s ear) Any last words?
CLOSE-UP: Pilgrim’s head in profile. Priest and chief lean in, as does everyone witnessing proceedings.
PILGRIM
(hoarse whisper) Tell ’em all to come on in … (sardonic smile) the water’s fine.
Chief removes glasses. Executioner recognizes signal to begin first drug to render Pilgrim unconscious.
PILGRIM
(surprised) I can feel it! (tightening muscles, slowly relaxes, closes eyes)
Chief pulls handkerchief and executioner starts second drug to paralyze and halt respiration. Monitor shows blood oxidation falling. Doctor turns up heartbeat monitor.
PILGRIM (V.O.)
(muffled, panicked) Get me OUTTA HERE!
Chief puts glasses back on, executioner begins third drug.
PILGRIM (V.O.)
(sounds of intense physical struggle as he remains motionless on gurney)
Heart monitor goes erratic and flat-lines.
PILGRIM (V.O.)
(last bleeding-out of breath)
Doctor checks vitals, looks at clock.
DOCTOR
Time of death: 2:04 am.
After moment, with techs standing back, chief, priest, and doctor leave. Witnesses depart. Executioner packs and leaves. CUT to overhead: Pilgrim’s body slightly twisted in resemblance of Christ on crucifix. Techs break down gear.
PILGRIM (V.O.)
Pretty sick, huh? To end someone’s life like that? That whole fucking kabuki dance? What was the point? To show everybody there’s no easy way out?
Camera descends one side of chamber, now-vacated. Observation windows in background, Pilgrim in foreground, wearing still-pulsing sensor crown.
PILGRIM (V.O.)
Big fucking deal. We’re all grinding out the same sentence. Nobody gets out of here alive. And when death comes for you, there’s no escaping the terror as it … chokes … you … out. (rueful laugh, sighs)
INT: slow glide to gurney, fixing on Pilgrim’s body in rise to overhead, then crossing to other side of room, revealing heretofore unseen wall of brightly lit frosted glass.
PILGRIM (V.O.)
(sarcastically) Still think I should move toward the light?
Chamber dims and glass wall’s frosting evaporates, revealing Mission Control of three-dozen techs manning rows of computer stations. As camera floats toward glass wall and penetrates it, muted hum from all that activity, with lots of NASA-like cross-talk as female Flight Director (aka, STACK), standing in middle, asks for “go/no go” calls (“That’s a go, STACK,” “Go STACK,” “Neurology is a go STACK,” “We are go STACK,” etc.). Camera settles on STACK’s shoulder, looking at Pilgrim. Chamber view framed by large monitors showing body schematic, brain map, and data flows.
PILGRIM (V.O.)
This is it: where I end … and it begins.
Camera rises above STACK, revealing cables running from chamber, under glass wall, and terminating in humming, luminous, cargo container-sized black cube nestled in sunken, glass sarcophagus between chamber and first row of stations.
PILGRIM (V.O.)
(now earnestly) Wish. Me. Luck.
FADE OUT:
S3/15 “NEWS BLITZ”
FADE IN:
(scene description) Channel-surfing/site-clicking montage of media coverage of Pilgrim’s “lift-off.” Lots of screen graphics and video throughout.
Channel switch.
MAJOR NETWORK NEWS ANCHOR #1
There you have it: word from Project Ascension that Pilgrim’s journey into the Eden Cube has begun. What some critics have dubbed an “execution by lethal injection” unfolded inside a top-secret facility located just outside New Mexico’s Los Alamos National Laboratory at approximately 2am Mountain Time.
Channel switch.
MAJOR NETWORK NEWS ANCHOR #2
To help us understand what just happened and what we should expect over the next several … What is it? Hours? Days? Weeks? … we’ve brought in CNN’s science correspondent, Beth Qualey, to explain. Beth, what you can tell us right now?
CNN SCIENCE CORRESPONDENT
Condi, right now Pilgrim’s long-term memory and consciousness are being carefully uploaded into Eden’s artificial neural network in a data flow estimated at roughly six petabytes. That’s 600 million gigabytes. As we know, at least three other foreign government-funded labs claim to have mastered the memory upload. What the world has lacked up to now is the ability to force a person’s immediate consciousness to vacate the brain and to achieve a coherent and sustainable re-integration with those memories in a computational environment that (1) effectively simulates full brain activity and (2) allows for genuine human identity to re-emerge. This is the Holy Grail of VLAD researchers everywhere – Virtual Life After Death.
MAJOR NETWORK NEWS ANCHOR #2
So what happens next?
CNN SCIENCE CORRESPONDENT
We hope Pilgrim survives the upload from his now brain-dead body to Eden.
MAJOR NETWORK NEWS ANCHOR #2
This is what confuses many viewers: Is Pilgrim truly dead or in a coma?
CNN SCIENCE CORRESPONDENT
That’s the core of the controversy surrounding the procedure. Pilgrim’s heart was stopped, forcing his consciousness to flee, via neural portals, into Eden’s network. Once that tipping point was reached, Pilgrim’s body was resuscitated and placed on life support – just in case. Would an emergency download back into his brain work? Nobody knows. Critics label this a PR stunt to deflect public anxiety over the execution-style procedure.
Channel switch.
MAJOR NEWS NETWORK ANCHOR #3
Just who is Pilgrim? And why is his true identity being kept from the public?
Channel switch.
NEWS CORRESPONDENT #1
Pilgrim has been described as a bi-racial male in his thirties, slight of build and in good health. Unverified reports label him a widower, his wife succumbing to disease some years back. Leaks from Project Ascension – still to be confirmed – suggest the couple had previously adopted a teenage female from overseas. Now a young adult, she is believed to be aware of her father’s role in the project, but we don’t know how she feels about his choosing to end his life in this manner. So, lots of unknowns here.
Site click.
NEWS CORRESPONDENT #2
Several leading hacktivist sites speculate that Pilgrim is a sophisticated virtual reality software engineer, leading amateur and professional sleuths to concentrate on that sprawling, worldwide industry. An anonymous source within Project Ascension describes Pilgrim as possessing a spatial intelligence that is - and I quote - “off the charts.” All we know for sure is that Pilgrim joined Mandate some months prior to his upload, signing his life away to that secretive and controversial company.
Channel switch. Expert at studio desk with newscaster.
TALKING HEAD #1
… it then comes down to Pilgrim’s ability to rapidly construct user-friendly virtual environments within Eden’s unformatted memory landscape. None of us can be sure that any human being, so transformed, can maintain consciousness long enough - absent an externally grounded reality – to complete this world-building task. Put crudely, insanity is a constant danger.
Site click. Zhou Yongling’s famous TED talk.
ZHOU YONGLING
My failures are well known. Brain copying successfully uploads long-term memory but fails in consciousness-merger, yielding a weak avatar that, when combined with robots, is useful for certain dangerous endeavors, such as deep space exploration. But that hardly constitutes genuine VLAD. Brain splitting, still in its infancy, appears promising in biological regeneration among the living, but it does not yet present a plausible pathway toward VLAD, leaving us with brain scanning – and its frightening finality – as the best way forward. Here we collectively face the harsh truth that there is no VLAD without the “D.” Unless we are to be satisfied with brain-scan capture at the moment of death, meaning we forego transfer of prior-life consciousness – what I call the “sediment of the soul,” then we must accept that complete uploading of human consciousness requires the body’s demise. (to applause as audience recognizes signature slogan) There’s no point in going if you can’t take it with you!
Channel switch. Expert panel on CSPAN, with speaker encountering growing boos from hostile audience.
EXPERT #1
Mr. Zhou’s single-minded pursuit of brain uploading is what forced his expulsion from China, where public uproar over his indefensible torture and murder of death-row inmates led to Beijing finally banning death sentences. That our President now welcomes this mad scientist with open arms is deeply troubling to me. We do not yet comprehend this man’s unholy agenda.
Channel switch. POTUS’s crew-cut Special Assistant fielding question from White House press corps.
JOURNALIST
Why has this administration so wedded its political fortunes to Mandate’s quest for VLAD? Will the U.S. Government assert its national sovereignty in this new cyber realm? Is that even politically feasible?
LLOYD HOPKINS
Tanya, as I have noted before, the best analogy here is the Cold War space race. Did America want to be first to the moon? Yes. Did we then claim it as our own? Hardly. The Eden Cube will serve as cornerstone of a global network of VLAD environments that, in their cumulative diversity, will reflect the grand mosaic of human identity. But, as we learned with the internet, early entrants forge pathway dependencies that late-comers are forced to respect. So yes, this White House proposes some rules of the road for humanity’s looming embrace of VLAD. Thanks to Mr. Zhou and Mandate, America now enjoys a competitive advantage. But no lead lasts for long, so the President is intent on the United States playing pathfinder to this future. The American people expect nothing less.
Channel switch. Zhou testifying before Congress.
ZHOU YONGLING
Senator Armstrong, the reason why individual VLAD environments will not suffice for most citizens is that, when they’re presented with our best VR simulations, ordinary people sense that a single-soul heaven – your term – is simply too lonely, too isolating, and thus doomed to cognitive collapse. Humans are social creatures in this life and they will remain so in the next. In my opinion, we can envision a hell-FOR-one, but not a heaven-OF-one.
Channel switch. Bill O’Reilly-type opining.
NEWS PERSONALITY #1
Let’s be honest folks. America can’t afford its growing geezer population. We’re more of a nursing home than a nation! Just look at what happened to Japan. I gotta tell you, if the choice is between spending my last days nursed by a bedside robot or uploading this beautiful mind to some video game, I’d rather live out my existence as a first-person shooter – thanks to the Second Amendment!
Site click. Radio shock-jock on screen.
SHOCK JOCK
Death panels are just around the corner. You know they’re coming. Remember Logan’s Run? Nobody’s going to heaven. They’re simply thinning the herd because us old-timers cost too goddamn much! The Deep State faked the moon landing, and it’s faking this too.
Site click. SNL skit, with “St. Peter” guarding pearly gates as priest, pimp, and prostitute plead their cases.
“SAINT PETER”
(breaking at flashy antics of pimp and prostitute) I thought I told you perverts to go to the back of the line. (priest glumly complies, as pimp and prostitute saunter through) NEXT!
Channel switch. U.S. Representative on House floor.
CONGRESSPERSON
Will we let Mandate and this president decide who gets in and who doesn’t? If we ever needed to rethink the separation of church and state, this is it!
Channel switch. Sunday morning news show.
BOW-TIED COLUMNIST
Has anyone considered communication arising between the living and the dead? How does that work? Will they get a say in how we - the living - run our lives? Old people vote, so why can’t the dead?
Site click. Online psychic:
PSYCHIC
I have already received word from Pilgrim, and he has shared his vision of heaven with me – a vision I can now share with you when you sign up for-
Channel switch. Vatican spokesperson before mikes.
CARDINAL
The Holy Father’s just-published encyclical is very clear: there is but one body, one life, and ONE afterlife under Christ. For the Faithful to enter into God’s eternal grace, the sacrament of last rites must consecrate the soul’s journey beyond this world.
Channel switch. Bill Maher-like show.
COMEDIAN
Come on, man! One line for old-timers, but a shorter one for dying kids? If you’re mentally ill, back of the line with you? If you lost your legs in combat, then step on up? How about a free pass to pre-surgical trannies? (crowd laughter)
Channel switch. Pro-life activist speaking at mass rally.
ACTIVIST
Where is the heaven for murdered babies?
Site click. White-haired academic prognosticating.
PHILOSOPHER
What worries me most is that humanity’s ambitions will wane. Guaranteed an afterlife, why put yourself at risk? You need to have your head on straight at life’s end if you want to upload into the next. Do we all start playing it safe?
Channel switch. Late-night talk-show host doing monologue.
TALK-SHOW HOST
Pilgrim died for our sims! (laughter)
Site click. Project Ascension PR spokesperson at podium.
SPOKESPERSON
Pilgrim will configure neural constructs that will permanently animate Eden’s virtual environments. Once finished, he is to be joined by the first wave of Makers – the 2,000 select individuals-
Channel switch.
MAJOR NETWORK NEWS ANCHOR #4
- street protests around the world concerning Project Ascension’s continuing lack of transparency mark a new phase -
Site click. Masked figured speaking in YouTube video.
“ASMODEUS”
… and that is why Leviathan deems Project Ascension and everyone associated with its crimes to be fair game for future strikes. Washington’s plans to zombify humans -
Channel switch. Woman interviewed.
MOTHER
If there’s technology to keep my child’s spirit going – despite the cancer that’s eating him alive, then we should have access to it now! We’re not being told the truth here. My son doesn’t have to die.
FADE OUT:
S4/15 “PUTTING CARDS ON THE TABLE”
FADE IN:
(scene description) POTUS and Zhou in Oval Office, discussing the way forward.
PRESIDENT TERESA CAMPOS
- no I really haven’t given it any thought. (gets up and walks to side table) I mean, would I try to play the same role there - you know, be a leader? (freshens drink) What ambition makes sense there? I don’t know. (takes sip) I suppose I could simply choose to explore some other aspect of my personality. (chuckling to self) With so much possibility, I fear that I – like most people – will either be paralyzed by too many choices or run ragged by trying too many things at once. (returns to chair and sits) I just don’t know how people will maintain any self-discipline in that environment. (deep exhale, thinks further) But maybe that’s the point. Maybe it’s just non-stop pursuit of happiness – however defined. (looking directly at Zhou) You know, VLAD must be marketed as the reward for this life and not merely its second act – a privilege and not a human right. Because … (shaking head) once this genie’s out of the lamp, some people will think that anything goes because – hey (throws hands up) – all dogs go to heaven.
ZHOU YONGLING
As always, Madame President, your thoughts arrive at the core of this matter: the promise of VLAD … its … capacity to reduce the social burdens of an aging population … there is (nodding) … as you say, great political risk. In this life, people must still have goals – a sense of duty to others. Parents must still raise children. Inventors must still invent. Justice must prevail, order maintained, and so on. So now, there is more need for moral codes – so much more! Eden cannot become an easy off-ramp from a failed life. It must be the crowning achievement of a good life – cause and effect.
PRESIDENT TERESA CAMPOS
We agree on this.
ZHOU YONGLING
Yes. (nodding)
PRESIDENT TERESA CAMPOS
And this, my friend, is why I have made your dream my dream. For Eden to succeed, it must reinvigorate our world: payment for a life well led – and an America made great again.
ZHOU YONGLING
Exactly!
PRESIDENT TERESA CAMPOS
Our version of VLAD must become the gold standard for final retirement – a way to once again attract the world’s best talent to our shores. We just need to make sure that, in return, we get everything out of them – in THIS life.
ZHOU YONGLING
(interrupting) Not just this life, Madame President. These same great minds will continue innovating after they enter Eden, and there, as part of that … second social contract, this great nation will benefit even more as we seek to perfect both realities – here and there. This is a future topic of conversation: how this IP will be put to good use and –
PRESIDENT TERESA CAMPOS
- who will own it? (knowing smile)
ZHOU YONGLING
(bows slightly) Of course. When one person owns the land and another digs the well, both shall drink, yes?
PRESIDENT TERESA CAMPOS
Yes. But I must ask you, Zhou, such revenue must still be years away. How can Mandate afford the buildout of future versions of Eden if you, as you publicly state, keep the entire process free for everybody? You’re promising a helluva lot more than just mowing the grass and keeping every gravestone upright. And don’t even get me started on cyber security. (sighs, then leans forward) Surely you understand that I cannot provide you with any more funding – not with this Congress.
ZHOU YONGLING
We expect none, Madame President, beyond the operational security requirements that your agencies have … with much proficiency … (smiles) fulfilled. (POTUS nods in reply) Madame President, I can answer your concern by asking you a few simple questions? (extends hands palm-up)
PRESIDENT TERESA CAMPOS
Please.
ZHOU YONGLING
Your dear husband, he died a painful death several years ago.
PRESIDENT TERESA CAMPOS
(glancing at framed photo on desk, a bit uncomfortable) Yes.
ZHOU YONGLING
You have imagined, I think, what it would be like to have him now in Eden?
PRESIDENT TERESA CAMPOS
(reaching to pick up frame) Yes.
ZHOU YONGLING
And if he, once there, could remain part of your life, you would welcome this?
PRESIDENT TERESA CAMPOS
(bit lost in thought) Of course.
ZHOU YONGLING
And you would pay much for this … access? This conversation?
PRESIDENT TERESA CAMPOS
(turning back toward Zhou) Naturally.
ZHOU YONGLING
Then I think, we also agree, Madame President, that this form of communication between worlds, which we will control together, will serve as a crucial reward –
PRESIDENT TERESA CAMPOS
– or punishment …
ZHOU YONGLING
(nodding) … or punishment for those who might challenge our management of Eden.
PRESIDENT TERESA CAMPOS
Excellent. (stands) As always, Zhou, you are two steps ahead of me.
ZHOU YONGLING
(hands up in defense) No, no, Madame President. We walk together, arm in arm.
PRESIDENT TERESA CAMPOS
(as if reconsidering Zhou) Yes … of course, arm in arm. (pause as she rises, walks behind desk and then leans forward to tap right index finger on a stack of red-labeled classified reports) In the meantime … (Zhou nods his understanding of gesture) how sure are you of Pilgrim’s … reliability? You believe you can control him? According to my people, you’re giving him a great deal of … leeway.
ZHOU YONGLING
I am confident of this, Madame President. Pilgrim and his daughter represent … how to put this? … a proof of concept. He wishes to stay in contact with her, and she will want the same with him. This is a powerful reward –
PRESIDENT TERESA CAMPOS
- or punishment.
ZHOU YONGLING
As you say.
PRESIDENT TERESA CAMPOS
You realize that my agencies cannot hide his identity forever?
ZHOU YONGLING
Yes. We prepare for this moment.
PRESIDENT TERESA CAMPOS
I would expect nothing less.
ZHOU YONGLING
(rises from couch to slowly walk toward POTUS) Understand, Madame President, that Pilgrim is merely the sower of seeds. Like your Johnny Appleseed, he wanders the empty frontier, planting trees that others will later nurture, prune, and harvest. This Mr. Appleseed, he was a real man! Like all real men, he eventually died – but still he lives on as legend! Our Pilgrim will do the same. His life and afterlife will be celebrated until humanity is no more.
PRESIDENT TERESA CAMPOS
(nodding warily) I understand.
ZHOU YONGLING
I will command the first generation of Makers who will populate Eden once Pilgrim’s tasks are complete. There will be no doubt about who is in charge.
PRESIDENT TERESA CAMPOS
(grasping full picture) Yes, that seems appropriate. (coming around desk to shake Zhou’s hand) I trust in your vision, Mr. Zhou.
ZHOU YONGLING
(shaking hands) As I trust in yours, Madame President.
FADE OUT:
S5/15 “THE PHONEBOOTH”
FADE IN:
(scene description) While receiving courtesy tour of Mission Control, Pilgrim’s daughter Abebu meets POTUS’s special assistant Lloyd Hopkins, Stack Director Colleen Clifford, and star coder Brendan Eich.
INT of facility: Hopkins and Abebu walking down corridor.
LLOYD HOPKINS
- and if there’s anything I can do for you in the meantime, here’s my direct link. (hand her plastic card as he pivots to look her in face) Please understand the President deeply appreciates your sacrifice here. Keeping your family identity secret is crucial to the program’s public launch. (walking again) People need to see your father as a symbol of what’s possible in Eden, so he’s so much more than just a pioneer … or even a hero. He’s … the very first traveler to this … sacred place. That’s why we call him Pilgrim. We need him to be everyone and no one in particular. Understand?
ABEBU ELIJAH
(hesitating) I think so. (shifting) But you need to understand something too: you make it sound like I’m supposed to feel … pride about my dad letting Mandate execute him so you can prove … whatever you’re trying to-
LLOYD HOPKINS
Your dad’s exploring the next step in human existence. Columbus couldn’t chart the New World if he never took sail. Everything here (points down) is going to change in response to what he will accomplish in there (points down hall). You’ve seen the web, and he hasn’t even surfaced yet!
ABEBU ELIJAH
I don’t need … (throws up hands) it’s too much! I just want to know he’s okay – that’s he going to make it. Otherwise … you can bring him back, right?
LLOYD HOPKINS
That’s the worst-case scenario. Right now, we’re watching and waiting. Your dad is an amazing guy. He’ll pull through, and, when he does … (shaking head, then sighs with calculated smile) we move on from there. I know you’re sca –
ABEBU ELIJAH
(wheels around to face Hopkins) I’m not some kid you need to … manage.
LLOYD HOPKINS
You misunder –
ABEBU ELIJAH
No! Let’s get this straight. You may have bought his … life, but you don’t own mine. I go to a lawyer tomorrow and we keep Mandate in court for years on a wrongful death suit. There are plenty of people out there who think what you’re doing is wrong, and right now I’m more with them than with your … (pointing down hall) your crackpot scientists. (chest heaves, chokes up) I have no idea what I’m doing here!
LLOYD HOPKINS
(grabs her gently by shoulders) Listen! We’re here - Mission Control. Let me introduce you to … (bemused) the crackpot in charge. (earnestly) She’s a good woman and a world-class scientist, and she’s doing everything she can to keep your father ali-… functioning in there.
CUT to INT of Mission Control. Clifford speaking to trio of techs (portly Dev, wispy Mariam, and one more).
COLLEEN CLIFFORD
You know what we’re looking for. (emphatic) Find it!
Trio disperses to workstations as Hopkins and Abebu arrive.
LLOYD HOPKINS
Dr. Clifford, this is –
COLLEEN CLIFFORD
Of course, (smiling broadly) Abebu!
Steps toward Abebu for hug, startling her at first.
COLLEEN CLIFFORD
My word! You are as lovely as he …
ABEBU ELIJAH
He talked about me? You spent time with him?
COLLEEN CLIFFORD
Yes, the better part of a year. (smiles again warmly, and Abebu returns gesture)
Pause as both contemplate bond.
ABEBU ELIJAH
(with trepidation) I have to ask: I know why you’re doing this, but why did he … ?
COLLEEN CLIFFORD
Agree to be first over? (looks away in thought) I want to be able to tell you … (shaking head) I’m just not sure. (grasps Abebu’s hands) But I still plan on finding out, and, if you want, you can ask him yourself, hopefully … sometime soon.
ABEBU ELIJAH
(stunned) Seriously?
COLLEEN CLIFFORD
(smiling again) That’s the plan.
ABEBU ELIJAH
But how?
Clifford gestures to tech adjusting servers on far wall.
COLLEEN CLIFFORD
Brendan! Would you please come here?
Eich, a quintessential nerd, approaches tentatively.
BRENDAN EICH
Yes, doctor?
COLLEEN CLIFFORD
Abebu, this is Brendan and he’s our top software engineer. He designed the data upload, or “stacking” procedure that’s depositing your father’s consciousness across Eden’s neural nets right now. Brendan, this is Pilgrim’s daughter. I thought it would be nice if you could give her a brief tour of the phone booth.
ABEBU ELIJAH
The …?
BRENDAN EICH
(intrigued by her) Phone booth. That's just (shrugging)… what we call it. It’s a VR communications portal that allows us to speak directly with someone … (looks over at Cube) in there.
ABEBU ELIJAH
I could do that with Dad?
COLLEEN CLIFFORD
(smiling, nodding) Absolutely! Just give us time to work out the kinks. But yes, you’ll be able to talk with him.
ABEBU ELIJAH
I don’t know what to say. I didn’t –
LLOYD HOPKINS
Think it would be possible? Abebu, everyone here has spent years preparing for this moment, and for people like you to play a special role in what happens next. This all has to work for everybody.
COLLEEN CLIFFORD
So, Brendan … take it from here?
BRENDAN EICH
Of course, (steps back, extends arm toward far door) … this way Miss … (unsure)
ABEBU ELIJAH
Just Abebu (shy smile)
BRENDAN EICH
(nodding shyly, sounding out) A-bay-boo.
They exit. Hopkins turns to Clifford, who’s expecting this.
LLOYD HOPKINS
That went … better than expected?
COLLEEN CLIFFORD
Considering how late you brought her in.
LLOYD HOPKINS
(sharply) Skip it. She may be an asset for what goes on in there (points to Cube), but she’s an obvious liability out there. (gestures to media monitors)
COLLEEN CLIFFORD
She just lost her dad in the freakiest way possible. What do you expect from her?
LLOYD HOPKINS
Same thing I expect from everyone here – unwavering commitment.
COLLEEN CLIFFORD
Commitment? (pause) That’s a laugh! (jabbing index finger toward Hopkins’s chest) I ran this project for years before DC muscled in with Zhou’s … (sarcastic) revolutionary technology.
LLOYD HOPKINS
Which you gladly accepted.
COLLEEN CLIFFORD
The software? Yes. The decision to murder someone to force full upload? No! So yeah, I intend on look -
Clifford’s mobile rings. She grabs it reflexively.
COLLEEN CLIFFORD
Yes. (listening, then resigned sigh). I understand. I’m leaving right now.
LLOYD HOPKINS
Is it?
COLLEEN CLIFFORD
I gotta go.
Clifford hurries away, but, looking back, declares:
COLLEEN CLIFFORD
She will remain in the loop, and you will personally see to her security.
LLOYD HOPKINS
(making nice) Go! We’ve got it covered here.
Clifford hurries out.
LLOYD HOPKINS
(under breath) Good luck.
CUT to INT of darkened room, in which subway-car-sized Phone Booth stands. Room door opens and Eich leads Abebu inside.
BRENDAN EICH
This is it - the Phone Booth.
Abebu, circling mechanism, is mesmerized.
ABEBU ELIJAH
So, how does it work?
BRENDAN EICH
It’s a … 3D V-R Gooey (halts to explain)
ABEBU ELIJAH
(knowingly) Three-dimensional virtual reality graphical user interface …
BRENDAN EICH
(impressed) Right … that network administrators like Dr. Clifford –
ABEBU ELIJAH
(teasingly, still circling) Or you?
BRENDAN EICH
(self-satisfied smile) or me … can use to speak … face to face – as it were – with someone inhabiting Eden’s neural nets.
ABEBU ELIJAH
(more seriously) So what do they look like?
BRENDAN EICH
Well … they’re projected as a hologram that portrays … however they choose to present themselves in there.
ABEBU ELIJAH
So … they can look like … whatever they want?
BRENDAN EICH
Theoretically, yea.
ABEBU ELIJAH
(under breath) Amazing! (to him) How many times have you used it?
BRENDAN EICH
Oh, we haven’t really used it yet. It’s a prototype.
ABEBU ELIJAH
Then how do you know it works?
BRENDAN EICH
We’ve run lots of simulations with simple bots … and … I’ve run a few … (throat-clearing cough) experiments of my own.
ABEBU ELIJAH
With who?
BRENDAN EICH
(reluctantly) Your dad isn’t the first person we uploaded. There … were others.
ABEBU ELIJAH
And?
BRENDAN EICH
And they didn’t make it … all the way.
ABEBU ELIJAH
You think my dad’s gonna make it, right?
BRENDAN EICH
(carefully) Our procedure’s been dramatically improved by Mandate’s software, and your dad … he’s (smiling to self) … amazing.
ABEBU ELIJAH
(bit intimidated) What do you mean?
BRENDAN EICH
The reason why the rest of them didn’t make it is that they couldn’t handle the blank slate. Eden’s mostly empty right now. No firm sense of time or space … until someone goes in and creates both … and then … somehow … (grimaces) enforces it? We dunno … nobody knows.
ABEBU ELIJAH
(biting lower lip) I just wish …
BRENDAN EICH
You could see inside?
ABEBU ELIJAH
Yea.
BRENDAN EICH
I have a way, but it’s not really … It’s just something I put together on my own.
ABEBU ELIJAH
Show me?
BRENDAN EICH
(drawn out) Yea, okay. It’s just needs to be … (slight smile) our secret.
FADE OUT:
S6/15 “NEW WORLD”
FADE IN:
(scene description) Pilgrim is reconstituted within Eden and begins his world-building.
CLOSE-UP: zoom out from right eye of Pilgrim, pulling back to see him in full and standing within blank white space of no apparent dimensions. Pilgrim is somewhat transparent, with holes suggesting incomplete/missing data. He’s still wearing just the white compression briefs.
Pilgrim looks at hands and then touches torso, realizing “I’m actually here!” But what is here?
Pilgrim takes step, and there is an outward explosion of visual formatting suggesting a path running through a park. Imagery is incomplete and does not extend past his current thought. It’s black-and-white, like a blueprint. He’s startled by appearance, and steps back, ending imagery.
Pilgrim looks up and same happens in form of sky, clouds, wind, and tree branches. He reaches out and feels wind against skin. He turns a bit and notices rain drops.
Pilgrim understands that his thoughts instantly format the surrounding neural nets.
Pilgrim sighs, and when he breathes back in, his nostrils connect to the smell of baking. As he turns toward smell imagery, kitchen suddenly formats with rudimentary coloring, along with faceless female. He’s startled by her presence. Is this a memory?
Pilgrim hears something behind him, like movement of crowd. He turns and is confronted by infinite shimmering wall that appears liquid-like at curtain edge. Through it, he sees Matrix-like deluge of water-falling data. Crowd sounds spook him and he steps back, putting hands up defensively.
At base of waterfall curtain, toddler version of himself, clad in diaper, crawls through and continues moving toward him. Then another version, clearly Pilgrim at age 14, appears at another point in curtain. Then version after version, all at different ages, begin emerging and silently walking toward Pilgrim.
Pilgrim is stunned as he recognizes himself in all these forms. As they draw close, he expects some interaction, but none acknowledge him. They wordlessly pass him and keep walking away from curtain.
Pilgrim turns around to see where they’re headed. In distance, there appears growing lattice of his memories, both conscious and subconscious. The Pilgrim iterations are all gravitating (via multiple dimensions) toward memories corresponding to their age. As they approach, lattice expands exponentially.
Camera perspective zooms upward from Pilgrim’s perspective to encompass crowd and proliferating lattice. Camera then circles around to opposite perspective, showing Pilgrim in distance (near curtain), migrating crowd in middle, and lattice in foreground.
Camera then travels - fly-by fashion - through Interstellar-like lattice of infinite memories/timelines, providing glimpses of vignettes. Camera emerges on far side of lattice, swoops over crowd, ultimately zooming toward Pilgrim and entering through his right eye and, by doing so, re-entering memory lattice in immersive fashion.
ZOOM toward INT of funeral home. Relatives milling about open casket. Close-up of thirty-something Pilgrim navigating crowd to reach casket. As he moves, relatives reach out and offer condolences, kisses, embraces, etc. Pilgrim is unresponsive to all. He reaches casket and sees dead spouse. He stares uncomprehendingly, then emotion flickers as tears emerge. He grasps her folded hands, and then gently strokes her cheek.
PILGRIM THIRTY-SOMETHING
I loved you. I’m sorry it wasn’t … (choking up) something I could … share … in the way you wanted … needed.
Crowd murmuring behind him. He turns and sees current Pilgrim approaching him. He seems relieved, as if now surrendering this painful memory to this meta-Pilgrim.
Meta-Pilgrim reaches out to touch thirty-something Pilgrim’s shoulder, as latter begins to sob. When they touch, entire environment is sucked into Meta-Pilgrim through his open hand. Meta-Pilgrim closes fist once memory completely absorbed, and, in response, his form grows more complete/solid.
CUT to INT of Mission Control facility. Pilgrim-of-Weeks-Ago is working with Clifford. He is on gurney, hooked up to medical sensors. As camera approaches, Clifford turns off monitor and begins gently removing sensor from his side. Pilgrim-of-Weeks-Ago involuntarily recoils, as if her touch shocks. She, in turn, places her palm on spot to calm him.
COLLEEN CLIFFORD
I’m sorry! Did I hurt you?
PILGRIM-OF-WEEKS-AGO
It’s not you. I just … don’t like to be touched.
Clifford smiles shyly. Pilgrim-of-Weeks-Ago visibly relaxes, indicating he can be himself around her – even in this intimate moment. They clearly have affection for one another.
COLLEEN CLIFFORD
(indicating she doesn’t take it personally) Yea, I get it.
Clifford moves on to other sensors. Pilgrim-of-Weeks-Age doesn’t flinch and she doesn’t linger. She begins small talk that’s muted as camera pulls back to reveal Meta-Pilgrim in doorway. Meta-Pilgrim’s face indicates he warmly recalls memory. He approaches gurney, placing hand on Pilgrim-of-Weeks-Ago’s ankle. Memory is sucked into closing palm, rendering Meta-Pilgrim that much more complete.
CUT to EXT at Walt Disney World, Cinderella’s castle in background. Tweener Pilgrim shares Mickey-Mouse-eared funnel cake with parents. His face is covered with chocolate and whip cream/powder. They’re all laughing as they compete for cherry that’s being pushed around like hockey puck by dueling forks. Tweener Pilgrim wins, and, as he chews cherry, he contemplates surroundings.
TWEENER PILGRIM
I love it here! I want … to live here!
FATHER
(laughing) Most kids do!
TWEENER PILGRIM
How do they come up with all this … stuff?
FATHER
What do you mean?
TWEENER PILGRIM
How do they make it all … fun for everybody?
FATHER
I dunno (smiles) … they just do.
CUT to wider shot: Meta-Pilgrim is visible in distance from over Tweener Pilgrim’s shoulder. Meta-Pilgrim approaches, arm extended.
TWEENER PILGRIM
I wanna do that someday. Make cool places where everyone is happy.
Memory is sucked into Meta-Pilgrim’s hand, strengthening him.
CUT to INT of courtroom in Ethiopia. Female Muslim judge (muted) issuing ruling. Before her stands Twenty-something Pilgrim and his spouse, with ten-year-old Abebu standing before them. To their right stands elderly Ethiopian male leaning precariously on cane – Abebu’s birth grandfather.
JUDGE
And are you prepared to raise this child and be her parents from this day forward?
SPOUSE
(joyfully) Yes!
Spouse nudges Twenty-something Pilgrim in ribs, and he reluctantly volunteers.
TWENTY-SOMETHING PILGRIM
Yes (nodding) … from this day forward.
Cameras pulls behind judge, revealing Meta-Pilgrim approaching from side, hand outstretched. Memory is sucked into hand, strengthening him further.
CUT to INT of cavernous house party/rave with pulsating lights, electronic dance music, and hoard of dancing teens chaotically gyrating, each holding red plastic cup (or popsicle) and adorned with all manner of glowing necklaces, etc. Zero in on Teenage Pilgrim dancing with clearly older female date.
FEMALE DATE
(clearly impatient) Come on! Let’s go!
She grabs his hand and pulls him through crowd.
Cut to INT of women’s bathroom. Muffled music. She pulls him into stall, pushing past others in line. She locks door and turns on him in immediate embrace/kissing. He is unresponsive and uncomfortable. He pulls off her arms.
TEENAGE PILGRIM
Whoa, whoa! Slow down! We don’t need to do this … I don’t need to do this.
Camera pulls up overhead, revealing Meta-Pilgrim reaching for door.
FEMALE DATE
(pissed) What’s your fucking problem?
Memory is sucked into Meta-Pilgrim’s palm, strengthening him.
CUT to EXT of playground at daycare. Preschool Pilgrim running with twin sister. They duck into play tunnel.
PRESCHOOL PILGRIM
Okay, there’s nothing outside and we have to leave the spaceship, cause we’re running out of air!
TWIN SISTER
We have to build a new home – and everything!
PRESCHOOL PILGRIM
(suddenly serious) But what if we die?
TWIN SISTER
We become … space ghosts, and then we don’t need air, or food, or anybody!
PRESCHOOL PILGRIM
Cool. But we stay together, right?
TWIN SISTER
(beaming, grabbing hug) Forevah!
Camera pulls back from tunnel, looking over Meta-Pilgrim’s shoulder as he extends hand, sucking memory into palm.
Camera stays there as Meta-Pilgrim turns toward another memory (soccer game), snatching it instantly. Then another and another, as he’s grasping them in succession.
As process accelerates, entire lattice begins to be sucked into his extended hand, triggering white-hot build-up. Camera circles around and joins flow into Pilgrim’s palm. As lens reaches palm, he closes his fist.
Light and crescendo dynamic instantly stop. Camera close-up on Meta-Pilgrim’s closed fist. He opens it as camera pulls back to reveal him completely formed. He seems calm, powerful, confident, and ready. Residual data spark in palm.
Camera swings around his back as Pilgrim begins motioning with hands, generating full-blown-but-still generic landscapes, buildings, spaces, etc.
Camera continues to rise directly above him as the pace of world-building escalates. Now Pilgrim is building entire communities, vast wildernesses, etc. Glimpse of Cinderella’s castle spewing forth from outstretched hands.
CUT to close-up of his calm-but-determined face. Hint of smile. He is enraptured with power. Pilgrim’s form begins to glow as he’s transformed by activity.
CUT to distant overhead camera shot: Pilgrim is glowing white-hot form with all manner of exponential world-building expanding outward. Process feels out of control.
SMASH CUT:
S7/15 “ACCEPTING THE INEVITABLE”
FADE IN:
(scene description) Clifford confronts reality of her sick child’s imminent demise, and contemplates radical way out.
CUT to INT of hospital corridor just outside ICU room. Clifford’s parents and estranged husband in somber huddle as she approaches.
GRANDMOTHER
Oh, darling, she just got so bad … your father and I didn’t know what to do, so we called Jim and got her in here quickly.
GRANDFATHER
(pointedly) Jim dropped everything!
GRANDMOTHER
So did Colleen, honey. (turns to Clifford) I know we’ve had this conversation before and I know how you feel about it.
COLLEEN CLIFFORD
(pleading) Mom!
GRANDMOTHER
Are we going to keep putting her through this or can we finally make her … comfortable?
COLLEEN CLIFFORD
You mean, give up. We all know where she’s headed but-
JIM CLIFFORD
But what? You’re going to put her through hell on the hope that your project finally pans out? Or are you just too proud to admit you can’t save her?
GRANDMOTHER
Colleen, people have been living and dying since the beginning of time. Your father and I respect your work - even though it’s not for us –
JIM CLIFFORD
(to Colleen) But what about our little girl?
GRANDMOTHER
Jim, we talked–
JIM CLIFFORD
(to Grandmother) No, I’m tired of avoiding the subject. (to Colleen) If you can put that freak in there, then why can’t you pull some strings and save what’s left of our daughter? Alanna doesn’t deserve this. You –
COLLEEN CLIFFORD
(losing it) Can just move her to the top of the waiting list? This isn’t her getting a new kidney. This is ending our child’s life and hoping she’ll somehow … make it in there. We don’t know if Pilgrim can do this and he’s been training for months. Alanna is only 13! (turns away to look through ICU window at child knocked out in bed, with Jim and her parents in background reflection) (now quietly) … a child’s mind … in that condition … (hopeless, looking down) We just don’t know enough yet. (eyes lock on daughter, gears turning) … too many variables … you’d almost have to …
JIM CLIFFORD
(pleading) Colleen, what do we have to lose at this point?
FADE OUT:
S8/15 “PERISCOPE”
FADE IN:
(scene description) Eich shows Abebu his secret window into Eden, and, in process, discovers Pilgrim’s first signal.
CUT to INT of Eich’s small, windowless office at Mission Control. It’s cluttered and disorganized. Eich opens door and, scanning hallway for witnesses, shunts Abebu inside.
BRENDAN EICH
(embarrassed) Sorry … I work a lot.
ABEBU ELIJAH
(smiles) No worries.
BRENDAN EICH
(grabbing gear) Let me just set this up.
ABEBU ELIJAH
And this’ll let us look inside?
BRENDAN EICH
(hooking and powering up periscope) Yea … sort of. We can’t see what he sees, but we can spot him and anything he’s created. We’ll be looking at everything in its raw data formatting, so it’s like an impressionist painting … you get the gist, not the details. But it’ll give us a sense of how he’s re-coding Eden’s neural nets. (realizing he’s gone geek on her) I call it … the periscope …
Abebu shakes her head in wonder.
BRENDAN EICH
(embarrassed, almost to self) It sounds kinda stupid now that I said it out loud.
Abebu laughs inadvertently, quickly covers mouth with hand.
ABEBU ELIJAH
So tell me what we’re looking for.
BRENDAN EICH
(as he takes first look) If he’s gotten himself together, he’ll start exploring … leaving digital footprints we can spot. He’s supposed to initiate contact somehow … but that could take days, weeks. I don’t expect him to build anything anytime soon, so … pretty much waiting on some sign.
ABEBU ELIJAH
Can I … ?
BRENDAN EICH
Sure. (pulling back to let her look)
Abebu peers into periscope, fascinated.
ABEBU ELIJAH
On my God! This is so cool. It’s like I’m … flying above some … I dunno … some giant park. I can see everything! It’s so …
BRENDAN EICH
(proud, smiling to self) I know.
ABEBU ELIJAH
Is that … (puzzled) some sort of … city?
Eich taps her shoulder, indicating he needs to examine.
BRENDAN EICH
(stunned, to himself) No! Fucking! Way! (he scans whatever he’s looking at, and after a few seconds, sees something and grins, then turns to Abebu, laughing) What a smart-ass!
ABEBU ELIJAH
(alarmed) What do you mean? Is that not supposed to be there?
BRENDAN EICH
I gotta go! (bolts toward door, turns back, reaching out to her) Just … stay here for a second. I’ll be right back.
ABEBU ELIJAH
(pleading) Is this something good?
BRENDAN EICH
It’s something … (sigh escapes) wonderful!
Eich bolts through door. Abebu looks back in periscope, with view now revealed: night-vision-googles-like representation of landscape, as if from overhead drone. CUT to Abebu scanning, fumbling with dials. CUT back to view: signs of a vast cityscape but no life forms. CUT to Abebu’s eyes: they widen in surprise. CUT back to view: stone mountain on city’s far side and on its smooth cliff is massive, Mt. Rushmore-like message: “AND ON THE SEVENTH DAY”
FADE OUT:
S9/15 “PILGRIM HAS LANDED”
FADE IN:
(scene description) Mission Control freaks after spotting, with Eich’s help, similar evidence of Pilgrim inside Eden.
CUT to INT of Mission Control, in night mode. Most stations still occupied but low hum of activity. View closes in on workstation festooned with dolls from Dr. Seuss’s “Horton Hears a Who.” Young woman at monitor, portly tech walks by.
DEV KHAN
Hey Mar, any word from Whosville?
An exhausted Mariam spins chair to face Dev. She grasps one hand in other, cradling and staring at tip of finger.
MARIAM KANAAN
(loudly, so everyone takes note). Hey Dev, according to quantum mechanics, there could be an entire universe trapped in an atom under my fingernail. (Feigns hearing tiny sound coming from fingertip) Whaaaa? You’re trying to tell us something? Uh-huh … uh-huh … okay! (to Dev, as she pulls back covering hand to reveal determinedly up-thrust middle finger) Hey DEFCON! It’s for you!
DEV KHAN
(feigning shock and prancing off) Hostile workplace environment! Hostile workplace environment! (stops at end of row and spins around melodramatically) So, no Questlore marathon on Saturday?
Mariam glares at Dev, then points to work station, and he slumps off depressed. CUT to Mariam staring blankly at non-active screen, then she pulls down Horton plushy, whose trunk holds “clover” on metal spring. She flicks clover and it bobs. She keeps flicking.
MARIAM KANAAN
(to self, quietly) We are here! We are here! We are here! (sighs)
Clifford strides back in, looking tense and scanning monitors. She puts on headset and clicks it.
COLLEEN CLIFFORD
Comms, anything yet?
MARIAM KANAAN
(sitting up) That’s a negative, STACK.
Over-shoulder shot focuses deep on Mariam’s monitor beyond doll. Audible activity begins registering in one part of rotating Eden Cube model. Cut to Mariam’s eyes widening.
Eich bursts through double doors. Everyone turns. He immediately composes himself, realizing he doesn’t want to reveal periscope. He walks over to Mariam’s station. She’s uncomfortable with his invasion of her personal space, but a little excited to be so physically close to him.
MARIAM KANAAN
Sir? (As Eich stares intently at screen) Mr. Eich?
Clifford starts walking over.
BRENDAN EICH
Shhhhhhh … (as he leans in and begins typing on her keyboard)
Mariam rolls seat backwards to give him space.
MARIAM KANAAN
(sarcastic) Be my guest!
COLLEEN CLIFFORD
Brendan, tell me what you’re looking at.
Brendan types furiously, and then crescendos with final keystroke. He backs away from station and mimes dropping mic onstage. He raises arms triumphantly.
BRENDAN EICH
Pilgrim’s landed and he’s already building!
Suddenly at-attention Mariam pulls back up to station, adjusts headset, and begins fiddling with dials.
MARIAM KANAAN
I should be able to raise him on voice synth. If we can just get his attention.
She’s furiously typing, then turns on attached speakers.
COLLEEN CLIFFORD
(impatiently) Mary, put it on main.
Mariam complies. Everyone stops and looks up and around, waiting for some sound to emerge from low static hum. CUT to Mariam adjusting dials. CUT to speaker on wall.
PILGRIM
(singing to self, employing weak falsetto on back-up lines) Welcome to the Hotel California. Such a lovely place (Such a lovely place!) Such a lovely face. Plenty of room at the Hotel California. Any time of year (Any time of year!). You can find it here …
As singing continues, CUT to everyone in Mission Control standing in stunned silence. CUT to Brendan smiling, then Clifford beaming. They spontaneously hug, then awkwardly detach as Clifford wipes away tear, chuckling in relief.
MARIAM KANAAN
(sardonically) Well, his singing hasn’t gotten any better.
CUT to wide shot of room erupting in celebration.
FADE OUT:
S10/15 “ALL NECESSARY MEASURES”
FADE IN:
(scene description) Pope relays fears over Ascension to aides and Monsignor Drogo, who attended Pilgrim’s death.
INT of large and ornate Vatican meeting room, with long conference table surrounded by mostly empty chairs. Pope and aides clustered at one end. Drogo appears via large flat screen on conference table.
POPE VICTOR IV
- which brings us to the biggest challenge posed by this … achievement: the illusion of universal reconciliation. If all can enter this virtual heaven, then the Church surrenders its role as shepherd to the flock. Worse, if non-belief is no hindrance, then there’s no need for anyone to heed God’s word – much less ours. (pauses to let sink in) These scientists seek to marginalize all faiths, which we cannot allow. The holy Catholic church has survived past technological revolutions and we’ll survive this one. There is no alternative.
CARDINAL #1
The Americans promise an open selection process for the Makers – their term. Holy Father, you must sit at that table.
POPE VICTOR IV
(thinking) Yes. (looking at monitor) Monsignor, as my Envoy Extraordinary, you will arrange a call with the President.
MONSIGNOR DROGO
(nods) Yes, Holy Father.
CARDINAL #2
And if the Americans refuse?
POPE VICTOR IV
This White House recognizes the value in gaining my qualified blessing of such a controversial and divisive scheme, and Mandate will follow the President’s lead. Let me be perfectly clear: both believers and non-believers desperately want Project Ascension to succeed. Of all human emotions, none is more contagious than the fear of death. For millennia, this Church has offered the most potent cure: the sure pathway to an eternal afterlife. Now the Americans seek to displace Christianity with a secular alternative. This we cannot allow. Monsignor, you must relay our concerns to this Mr. Hopkins … and to Zhou himself.
CARDINAL #2
Associate the Church with that degenerate? Holy Father, do we not risk spiritual contamination? Should we not wait until we know more about this Eden?
CARDINAL #3
Will the Anglicans wait? The Lutherans? In America, New Age televangelists already promise their congregations clear guidance on how to reach this paradise. Do we stand by while others stampede the herd?
POPE VICTOR IV
We’ll deal with Zhou in due course. For now, let us keep this enemy as close as possible. (turning to monitor) Monsignor, you will signal to both Zhou and Hopkins that I will consider endorsing this so-called … (slight smile) right-to-afterlife movement. Make clear my intent – if necessary - to mobilize Catholics around the world to ensure our participation in all major policy decisions going forward. Streets are full of hostile protestors, so Mandate and the White House will surely welcome supportive rallies by the faithful. We can arrange those - and will - if the President ensures that Mandate accommodates our spiritual … concerns.
MONSIGNOR DROGO
I understand, Holy Father. I must raise one additional concern. Pilgrim’s body is being kept viable in case things go badly.
POPE VICTOR IV
This is a most frightening prospect. Were he to return … (shudders) unthinkable! Eliminate this possibility, Monsignor, by any means necessary. You carry my forgiveness for anything you must do.
MONSIGNOR DROGO
(makes sign of cross, bows) Holy Father.
FADE OUT:
S11/15 “ULTERIOR MOTIVES”
FADE IN:
(scene description) Zhou and Hopkins speak by secure video-conference, with Zhou revealing his plans for Pilgrim.
CUTS between INTs of Zhou’s ornate office and Hopkins’s small, windowless office at Mission Control.
LLOYD HOPKINS
- which is why we should black-site her now, before anyone gets ahold of her. Now that he’s surfaced, there’s an insatiable demand for news. If the media finds her …
ZHOU YONGLING
We can proceed as you suggest, but not before Pilgrim fulfills his purpose. Until then, she may be our only leverage.
LLOYD HOPKINS
(shaking head) I don’t sense that she matters that much to him. The wife pushed for adoption. He’s not close to the girl.
ZHOU YONGLING
Relationships don’t end with death, and are oftentimes improved by it. We don’t yet know how Pilgrim feels about her, so why act rashly? We’re dealing with a very nervous public. Eden must be perceived as entirely safe, peaceful, and eternal. Right now my name is associated with too many … (sigh) failures. Pilgrim must succeed. We are surrounded by enemies seeking to discredit us at every turn.
LLOYD HOPKINS
Then we’re back to how we control this guy once he’s remade Eden in his own image. You see just another slave to be buried in the pyramid, but he may fancy himself a pharaoh.
ZHOU YONGLING
(chuckle) A danger worth considering, yes, but your historical analogy is misplaced. We are explorers sailing uncharted waters. In any such bold endeavor, egos clash. Certain individuals see themselves as the only one to steer the ship into safe harbor.
LLOYD HOPKINS
So we should expect … mutinies?
ZHOU YONGLING
We should trust everyone to be exactly who they are. (sips tea) I say this to ease your mind: Pilgrim comes with a limited lifespan. My man inside Ascension arranges this with certainty, and he monitors Pilgrim’s every move. If our Johnny Appleseed becomes a problem, we’ll just delete him.
LLOYD HOPKINS
So, keeping his body alive …?
ZHOU YONGLING
Here our critics are correct - strictly for show. When Pilgrim finally crashes, we’ll mount a highly-publicized rescue that, while appearing genuine, will fail. (Zhou leans in for emphasis and to hit call-kill button following his last word) Pilgrim is to be a martyr – not a messiah.
FADE OUT:
S12/15 “UNALONE”
FADE IN:
(scene description) Eich observes Pilgrim discovering that he is not alone inside Eden.
CUT to EXT within Eden: Pilgrim walks through urban canyon, surrounded by creations. He beams with pride in predawn twilight, stopping in square with complex water fountain. Pilgrim turns to horizon, expecting sunrise. Sun peeks out but then gets stuck. Simultaneously, fountain stutters in software glitch. Pilgrim takes knee and plunges fist into ground. He concentrates, eyes closed. CUT to distant shot.
CUT to Pilgrim’s eyes popping back open. He smiles slightly as he retracts fist. Fountain restarts, and sun skips to overhead position, revealing, in previously darkened corners, partially formed humans, who instantly scurry. They flit across space inconsistently, like badly executed flip-book animation. Their movements trigger visual distortions, and their incomprehensible vocalizations suggest deep physical pain with each exertion. Two partial creatures merge into one another, creating a more fully formed entity. This remixing occurs periodically among them. CUT to Eich watching intently through periscope:
BRENDAN EICH
Say ellow to my leettle frrriends! (chuckles) No, you’re not the first - just the first with all your bits and pieces.
CUT to Pilgrim warily approaching square. Agonized sounds emanate from dark corner. One partially formed entity (legs terminating in head?) flies out and slams into him, then races across square leaking fluorescent data. Pilgrim looks at his injured side. He’s weakening, growing transparent.
Pilgrim grimaces, then realizes it’s fixable. He closes eyes and hands, tilting head back. His form pulses as a second Pilgrim steps away. Pilgrim-2 inspects still-immobilized Pilgrim-1’s side and then plunges fist into it, triggering visible recoding. When done, Pilgrim-2 steps back into now fully healed Pilgrim. CUT to Eich observing:
BRENDAN EICH
(bit stunned) What the fuck?
CUT to Pilgrim surveying surroundings. He hears more creatures gathering. He calmly pivots, anticipating attacks from multiple vectors. Pilgrim spots several entities scurrying from one hiding place to another. He reaches arm toward sun and it surges closer, illuminating every inch of square. All snarling entities are now revealed.
One-armed monster, missing much of head and torso, roars as it dashes toward Pilgrim. Another kluged creature (narrow bottom, wide upper body) flies at him from behind, emitting similar cry from large mouth that dominates featureless face. Pilgrim calmly steps toward first creature, extending right arm that morphs into metal blade skewering creature’s chest. It explodes in data-bloodbath that quickly fizzles into gaseous blur. Pilgrim cocks head, intrigued.
Second creature continues from behind. Pilgrim closes eyes and his body grows radically in size. Shocked creature stops. Collecting itself, upper body re-starts war cry, but nervous legs decide on retreat. When bottom half frantically pivots, upper-body snaps off, crashing to ground in splash of lost data-blood. As lower-body dashes, upper-half tries to walk on hands. Giant Pilgrim, having turned, is amused. He steps forward and scoops up legless, whimpering creature. Pilgrim stares at it, then closes hand. As fist clenches, surges of bright data-energy spill out between fingers. Camera zooms between fingers, picture fades to blinding white light.
FADE IN: Pilgrim stands in dimension-less white space, dressed in suit, with slicked-back dyed black hair. He steps forward and motion triggers formation of lavish Chinese sitting room, with two chairs against wall. In one sits a stout, middle-aged Cantonese woman in prison garb. She smokes cigarette and is pervasively tattooed. Her hair is cropped and she gives off insolent air. Pilgrim sits down and she pours tea for both. They speak in Cantonese.
XIE LUNG
(subtitles throughout) You’re not that cocksucker Zhou, so who are you?
PILGRIM
I am the first one over – in full.
XIE LUNG
That much is certain. Until you took me in, I could barely keep a thought in my skull (takes deep drag) … much less enjoy a good smoke. For this, I owe you everything. (slight bow)
PILGRIM
And you are?
XIE LUNG
My name is Xie Lung, but everyone calls me Xi-Xi. I ran my own triad in Hong Kong. Controlled all gambling, drugs, and prostitution in Wan Chai district … until I was betrayed, then arrested, convicted, and sentenced to death. That’s when that fucker Zhou got ahold of me. (shrugs) You can guess the rest.
PILGRIM
I understand.
XIE LUNG
So (warily) … you work for Zhou now?
PILGRIM
Not exactly, no.
XIE LUNG
(beaming with several gold teeth) Then we shall be friends!
PILGRIM
I have no idea how I’d get rid of you.
XIE LUNG
(chuckles) I will be a whisper in the wind, a bird singing in your garden! How might this orphaned one serve master?
Close-up of Pilgrim smiling.
CUT to giant Pilgrim standing in square, surrounded by creatures shocked and awed by his apparent destruction of two of their most aggressive members.
PILGRIM
(in Mandarin) Stop your attack! I mean you no harm! I can help you! Ease your pain! Listen to me! No more fighting!
CUT to reactions: Most creatures are transfixed. Some bow down, while fearful others run away. Those with mouths emit muted screams, which pour out like fluorescent vomit.
Giant Pilgrim senses he’s being watched. CUT to view in periscope: suddenly Pilgrim turns and stares directly into lens, freaking out Eich, who stumbles back.
Eich, recovering, peers back into periscope, witnessing Pilgrim motioning sun back in place. Looking down at town square, Pilgrim starts motioning bricks on plaza to reassemble into message: If anyone sees this-
CUT to INT of Clifford’s darkened office. She sleeps on cot. Furious knocking on door. CUT to CCTV shot of hallway, soundlessly depicting Eich yelling through door. CUT to Clifford bolting upright. She hits button and Eich enters.
BRENDAN EICH
Pilgrim … he wants to talk!
Clifford reaches for desk phone.
BRENDAN EICH
No! Just you … right now … phone booth!
CUT to Clifford’s shocked face.
FADE OUT:
S13/15 “THE HANDSHAKE”
FADE IN:
(scene description) Hopkins and Drogo huddle to form alliance over shared desire to avoid resurrection threat.
INT of hallway at Mission Control (CCTV shot) as Hopkins and two Secret Service move smartly. CUT to INT of windowless conference room. Drogo is seated. Door opens from outside and Hopkins strides in purposefully.
LLOYD HOPKINS
(motioning to Drogo to remain seated) Please. (sitting) I’ll make this quick. You’re here to tell me that your boss wants a seat at the table. Not a problem. The President wants him there. She absolutely understands how crucial it is to keep the Vatican informed and involved.
MONSIGNOR DROGO
(unmoved) There is more.
LLOYD HOPKINS
(calmly) Okay.
MONSIGNOR DROGO
He cannot be allowed to return … from there.
LLOYD HOPKINS
(dismissively) That was never the plan.
MONSIGNOR DROGO
But the body … you keep it alive.
LLOYD HOPKINS
(quick wave of hand) All for show.
MONSIGNOR DROGO
Then there was never any rescue option?
LLOYD HOPKINS
We thought it unwise … for the same reasons that brought you here today. (grim smile) When Cortez landed in the New World, legend says he burned his ships to show his men that retreat was not an option. (taps finger on table) We’re committed to making Ascension a success, and the President wants the Holy Father onboard – not just to assuage his concerns but to earn his blessing.
MONSIGNOR DROGO
Wise … (slight bow of respect) and the Pontiff expected no less. So the body?
LLOYD HOPKINS
(standing to indicate meeting is over) Consider it done. (extends hand)
Drogo stands and they shake hands. When Hopkins tries to pull his hand back, Drogo grips it harder and pulls him closer.
MONSIGNOR DROGO
And what of the girl? His daughter?
LLOYD HOPKINS
Is this the Holy Father asking?
MONSIGNOR DROGO
(ominously) Not yet.
LLOYD HOPKINS
(drawing closer, quietly) You and I may think similarly on this point … but that’s not a call we can make … right now.
MONSIGNOR DROGO
Better too early than too late.
CUT to Hopkins’ reaction.
FADE OUT:
S14/15 “THE SACRIFICE”
FADE IN:
(scene description) Pilgrim and Clifford reach secret pact.
INT of Phone Booth room. Eich zipping Clifford into motion-capture suit and checking attached sensors.
COLLEEN CLIFFORD
Remind me what he’s sees and what I see.
BRENDAN EICH
You appear in whatever reality he’s in.
COLLEEN CLIFFORD
Meaning … (nervously) he gets to dress me?
BRENDAN EICH
(smiling to self) Well … yeah, I suppose.
COLLEEN CLIFFORD
And I’ll see him as …
BRENDAN EICH
Whatever he’s self-projecting right now.
COLLEEN CLIFFORD
(to self) Giving me some sense of what he’s been through. Got it.
BRENDAN EICH
(stepping back) We’re good to go.
Eich helps Clifford into booth, then begins pressing buttons, typing, etc. CUT to Clifford inside booth.
COLLEEN CLIFFORD
(clearly nervous) Well … give him a ring.
CUT to Eich at control panel.
BRENDAN EICH
(works controls) I’ve got him. Give me a second … tell me when you see something.
CUT to over-shoulder shot as Clifford waits. Hologram flickers into form as (CUT to) Eich works dials. CUT to Clifford’s smile as she recognizes Pilgrim. CUT to over-shoulder shot slowly revealing Pilgrim standing naked.
COLLEEN CLIFFORD
You seem … (stealing glimpse downward) um … good?
PILGRIM
(oblivious, tenderly) Can’t believe … how beautiful … wonderful … seeing you.
CUT to INT of Cube, with over-Clifford’s-shoulder shot of Pilgrim on far side of bonfire in old starlight forest. Camera pulls back to reveal Clifford’s naked backside.
COLLEEN CLIFFORD
(realizes, covers self) Oh my God!
PILGRIM
I’m so sorry! (overwhelmed) I forget myself in here. I didn’t mean-
COLLEEN CLIFFORD
Now! Please!
Realizing absurdity, both smile and laugh. CUT to Eich observing. CUT to Pilgrim closing eyes. CUT back to booth where Clifford now sees body-suited Pilgrim.
COLLEEN CLIFFORD
(deep sigh) It’s so good to hear your voice. How are you? What are you feeling?
PILGRIM
(wistfully) You don’t look any different.
COLLEEN CLIFFORD
(concerned) What do you mean?
PILGRIM
(perplexed) It’s just … all this time …
COLLEEN CLIFFORD
How much time do you think has passed?
PILGRIM
(nervously) I dunno … couple years? (embarrassed) I’m way off the mark, aren’t I? (suddenly scared) Abebu?
COLLEEN CLIFFORD
Eli, Abebu is fine! You’ve only been in there for 33 hours!
PILGRIM
(stunned) Hours? (sighs) … I was afraid … I’m just so glad you’re still in charge.
COLLEEN CLIFFORD
Why?
PILGRIM
(shaking head) … just been … so lonely in here, Colleen … nothing to hold onto –except memories, and they stop working after a while. (tears up) I’m stuck in this dream and I’m never waking up. I’m losing myself … coming apart … (firmly) I can’t hold it together much longer!
COLLEEN CLIFFORD
Eli, listen to me. We knew that going in … you’re the first … we’re getting you help-
PILGRIM
Zhou wants me gone before he shows up.
COLLEEN CLIFFORD
(scared) Why would you say that?
PILGRIM
(whispering) I’m not alone in here.
COLLEEN CLIFFORD
(also quietly) But you said –
PILGRIM
It’s Zhou … those prisoners he tested … hundreds of them!
COLLEEN CLIFFORD
Sonovabitch! I knew he was lying.
PILGRIM
They’re not all there … just parts of them … not really human.
COLLEEN CLIFFORD
Eli, stay away from them! We don’t know-
PILGRIM
Too late! I’ve made my peace … (eyes dart) with most of them.
COLLEEN CLIFFORD
Eli, I’m so sorry. I had no idea.
PILGRIM
Don’t apologize Colleen. You never lied to me. There are just things I could only understand once I got in here. (leans in) Zhou’s gonna kill me. Don’t ask me how I know but I do. I need your help.
CUT to Eich listening in.
COLLEEN CLIFFORD
Eli, anything!
PILGRIM
You gotta send somebody else over – now!
COLLEEN CLIFFORD
But the protocol-
PILGRIM
(angry) Fuck protocol! (desperate) I have no way of … controlling myself in here and it’s freaking me out! I need reference points … another perspective … Zhou’s prisoners … (sigh) they wear me out and I don’t trust them. I need someone I can be with, talk to, care for – someone … innocent. (pointedly) I was thinking a child. (steps forward) Alanna.
COLLEEN CLIFFORD
Are you out of your mind?
PILGRIM
(stifles laugh) I am, actually … completely out … (dejectedly) and I’m never getting back in, am I?
CUT to EXT at bonfire. Now in simple tunics, both stare at other across flames.
PILGRIM
She’s gotta be running out of time.
COLLEEN CLIFFORD
Yes … (tearing up) Jim had the same idea.
PILGRIM
What more do you need? Upload her now and I’ll make sure she comes through okay. I have ways of … helping her – trust me.
COLLEEN CLIFFORD
It’s still insane! (yelling) I can’t-
PILGRIM
End her life? Colleen, that’s coming anyway. Do you want her in here – and still in your life? Or are you ready to say goodbye - forever? (reaches out hand as Colleen drops to knees, hands folded in front of face) Colleen! You keep me alive in here and I keep her alive in here, and the three of us … we’re stronger together.
Clifford sobbing indecipherably. CUT to Pilgrim close-up.
PILGRIM
Colleen … give her to me.
CUT to side angle back in phone booth: Pilgrim extending hand over Clifford kneeling in unintentional supplication.
FADE OUT:
S15/15 “REVELATIONS”
FADE IN:
(scene description) Montage of dead-of-night vignettes (some in slow-mo) accompanied by acapella Slavic religious choir.
EXT of New Orleans funeral band marching around corner and then down street, before horse-drawn hearse carrying Grim Reaper figure.
INT of Mission Control as camera pans over busy stations and then locks on CNN coverage of world demonstrations.
EXT of candle-lit march by thousands of Mexicans dressed up and painted in Day of the Dead style.
EXT of protestors clashing with police outside White House.
EXT of St. Peter’s Square crammed with Catholic worshippers; Pope emerges on balcony; worried/crying faces.
EXT of massive New York Times Square celebration.
EXT overhead of Muslims circling Mecca’s Black Stone.
EXT of massive street protests/police crackdown in China.
EXT (in Cube) of naked Pilgrim floating in near-earth orbit, staring down calmly at rotating, night-time planet. Sunrise peaks around planet, illuminating him in glow.
INT of Mission Control infirmary, where Pilgrim’s body is being taken off life support, under security chief’s gaze.
INT of Clifford’s car as she’s driving and crying.
INT of limo where Zhou sits alone.
EXT of city street as Abebu exits cab, stares up at front of cathedral.
INT of Mission Control as Eich receives cellphone call, listens briefly, and then exits.
EXT (in Cube) of Pilgrim floating over field where creatures gathering, clearly excited by his appearance.
INT of infirmary as Pilgrim’s body bagged and then placed on gurney as techs dismissed by security chief and Secret Service agents enter.
EXT of Clifford ditching car at curb and rushing into hospital through ER, then entering stairwell and heading up, hesitating at one point to stifle sob as she realizes what she’s about to do.
EXT as Zhou’s limo pulls onto long private drive, passes through vast estate and pulls up to palatial home. Butler opens limo door and Zhou exits.
INT as Abebu dips hand in holy water, makes sign of cross, and then walks down main aisle of cathedral, looking at statuary staring down at her.
INT of Eich’s office as he peers into periscope. CUT to night-vision EXT within Cube as he fly-navigates toward cave mouth on isolated rocky hill.
EXT (in Cube) as Pilgrim floats toward inky lake, where island in middle features fortress-of-solitude-like lair.
INT of facility as Pilgrim’s body wheeled down hallways and through side-exit, where black tractor-trailer is backed-up to loading dock. Trailer doors open to reveal waiting Hopkins and bio-hazard-suited tech.
INT of hospital as Clifford’s parents return to Alanna’s ICU room, only to be stunned to find her bed empty, with IV line and various sensors left dangling.
INT of Zhou’s mansion as he walks up grand staircase.
INT of cathedral as kneeling Abebu tearfully prays.
EXT night-vision feed (inside Cube) as Eich’s drone-like scope moves deeper inside cave and approaches prison-cell bars.
EXT of loading dock as Pilgrim’s gurney wheeled into trailer. Tech opens crematory’s door and pulls out tray.
INT of car with Clifford driving. She glances back, speaks to unconscious daughter, then stares at self in rear-view.
INT of ornate bedroom, with Zhou being undressed by androgynous young Asians in erotic ritual. Zhou’s naked body reveals breast implants, vaginoplasty, and giant butterfly tattoo across upper back.
INT of cathedral, with kneeling Abebu in foreground and Drogo approaching in background, as if stalking.
EXT (inside Cube cave) night-vision feed from Eich’s scope as it penetrates cell housing handful of fully-formed, Gollum-like creatures who are aggressive with one another.
INT of trailer as Hopkins watches Pilgrim’s body burning through small glass portal in crematory.
INT of car as Clifford drives past vehicles trying to enter lab gate. They’re full of invalids, dying patients, etc. EXT ascends to reveal Clifford’s car being waved in, then pans to reveal line of headlights stretching into distance.
INT as Zhou’s attendants put on his VR gear. INT of VR tableau where transformed Zhou stands alone before mirrored wall in Versailles-like palace, admiring his exquisitely beautiful, naked, young, perfectly female form. He smiles in obvious relief – he’s home again.
INT of cathedral as Drogo appears at Abebu’s side, they exchange smiles, and he places left hand on her shoulder/base of neck while blessing her with right hand. CLOSE-UP of him contemplating how easy it would be to kill her right now and be done with it.
EXT (inside Cube) as now-landed Pilgrim enters Darth Vader-like capsule that seals him in. Camera ascends to reveal hundreds (thousands?) of creatures massing along lake’s shoreline.
INT night-vision feed (inside Cube) from Eich’s scope floating above cell as creatures begin noticing and stare into it. They all eerily display Zhou’s facial features. The largest, most aggressive creature approaches scope’s lens, sniffs at it, and then suddenly lunges up at it with open, fang-filled mouth that blacks out picture.
SMASH CUT:
Credits roll to Metallica’s 2016 song, “Spit Out the Bone.”
