- Created by Amir Shehata, last modified on Sept 27, 2020
FADE IN:
EXT. THICK FOREST - DAY
It's early morning. The sun rays barely break through the thick trees. Joseph is a 20 something year old man, fair skinned, blond hair, but the most distinguishing feature is his glowing sky blue eyes. It's out-worldly. He climbs up a tall tree and does his best not to slip on the snow covered branches. There are glowing fruits hanging on the periphery of the branches. He plucks one off. Once he does, its glow dies down. He takes a big bite. The juices of the fruit drip down the corners of his mouth. He closes his eyes enjoying the satiation of his hunger. Joseph consumes the rest of the fruit, then makes his way to the next one. He plucks it out and puts it in a bag hanging on his shoulders.
The fruits aren't easily reachable. They grow on the tips of the branches which are hard to get to. Joseph looks over at a cluster of branches with more accessible fruit. But to get to these he has to make a scary jump. He looks down at the deadly drop, then back at the fruits. With an acrobatic move, he jumps and grabs onto a thick branch. His body swings back and forth. With the forward swing he lets go of the branch, does a flip and catches onto an even further branch. Joseph secures his footing and looks back at his original position with a smile on his face. The fruit is now within reach and he fills his bag with a bunch of them.
Joseph hears the sound of scratches and a deep throated growl. He looks in the direction of the noise and sees two wolf like creatures climbing up the tree.
JOSEPH
Oh boy.
Joseph climbs further up trying to get away from the vicious creatures. But they are damn good climbers. They bounce easily from one branch to another, using their sharp claws to scale the tree.
One of them is very close to Joseph. It reaches up and takes a swipe at his leg, but misses narrowly as Joseph makes another daring jump to a further branch. But he's not so lucky this time. The branch snaps under his weight and he falls down from a deadly height.
Out of nowhere a FOREST BEAST leaps and grabs Joseph from the waist using his mouth.
The beast lands and flings Joseph on the ground. Joseph disoriented from the quick series of events, backs up, looking around in disbelief. The creature is at least three times bigger than him, has formidable back armor, its skin has what looks like glowing orange veins pulsating in rhythm with its heartbeat. Its eyes have the same out-worldly glow which characterizes Joseph's as well. It has a notable scar on its face.
The beast turns to the two wolves which are now angry they were deprived from a juicy meal. They circle around the beast trying to get to Joseph. But the beast keeps himself between Joseph and the wolves.
The face off gets more tense. The beast tentacles drop from his mouth. One of the wolves attacks, but the beast smacks him easily with his front leg. It flies and stumbles, then gets up.
In the mean time the beast charges the second wolf. He grabs it with his mouth and flings it at the other one. The wolves slam into each other and howl in pain. The beast is clearly superior in strength. After a moment's hesitation the wolves scramble away in fear.
Once the beast is sure that the wolves are gone he turns to Joseph, who has backed up to the tree. His face pale from the shock and fear.
JOSEPH (cont'd)
Eimar to the rescue. Boy, am I glad to
see you.
The beast approaches and sniffs him. He reaches for the bag Joseph collected the fruits in and pulls it off his shoulders.
JOSEPH (cont'd)
I guess you deserve it. You can take
one.
EIMAR, the beast, dangles the bag from his mouth until some of the fruits fall out.
The beast puts the bag to the side and eats the fruit.
JOSEPH (cont'd)
Hey, I said you can take one.
The beast covers the fruit with his front leg.
JOSEPH (cont'd)
That's not fair. Did you see what I
had to go through to get these?
Joseph tries to get his bag, but the beast navigates its body blocking him. He eats another fruit, taunting Joseph.
JOSEPH (cont'd)
Eimar, stop. I need these for my
sister.
Joseph fakes right and then goes left spinning around Eimar. He snatches his bag and pulls it, but Eimar grabs the other end of it. They have a mismatched tug of war. Joseph pulls hard. Eimar lets go and Joseph falls back. The bag goes flying and all the fruits inside it tumble out.
Eimar leaps over Joseph and eats the rest.
JOSEPH (cont'd)
Great. Just great. Are you happy now?
Eimar approaches Joseph, who backs up.
JOSEPH (cont'd)
What are you doing? This isn't funny
anymore.
Joseph backs up beyond the tree. But Eimar stops beside it. He hits the tree with his massive body. A bunch of fruit gets dislodged and land around Joseph. One of them hits Joseph on the head.
The beast produces a sequence of melodic whistles. Joseph holds his head in pain.
JOSEPH (cont'd)
Oh, you think that's funny, huh?
Joseph picks up one of the fruits and chucks it at the beast. The beast returns the favor by kicking one at Joseph. The fruit hits Joseph hard in the stomach. Joseph falls on the ground, holding his torso in pain.
Eimar rushes to Joseph as he produces a sequence of whistles which communicate his concern over Joseph. Eimar rolls him over, trying to find out if he's okay.
Joseph laughs and points at the beast.
JOSEPH (cont'd)
Gotcha.
The beast produces a sequence of annoyed whistles.
JOSEPH (cont'd)
Come on it's a joke. You were asking
for it.
Eimar nudges Joseph with his massive head and sits beside him. They both relax on the lush grass. Joseph rests his back against Eimar's body, feeling his steady breath.
JOSEPH (cont'd)
You know Eimar, I've been thinking.
What do you say we leave this place?
Just pack up our bags and go. Well
I'll pack up my bags. I don't think
you need bags, do you?
(Joseph smiles)
What do you say?
Eimar produces a sequence of whistles. It's not clear if the unlikely friends understand each other, or if Joseph is just having a one sided conversation.
JOSEPH (cont'd)
Yeah, I guess you're right? Where
would we go? Eitorians control the
whole country. It's just... What
future do we have here?
Joseph closes his eyes and rests his head back on Eimar.
WIDE SHOT OF BOTH FRIENDS IN THE MIDDLE OF THE OUT-WORLDLY FOREST. TIME PASSES.
The sun rays land on Joseph's face. He opens his eyes.
JOSEPH (cont'd)
Oh look at the time. I'm late for
Mary.
Joseph jumps to his feet and collects the fruit into his bag.
JOSEPH (cont'd)
I'll see you tomorrow, okay?
Joseph touches Eimar's face and Eimar in turn leans his face into Joseph's palm.
JOSEPH (cont'd)
Stay safe, okay?
The beast looks up abruptly. It sniffs the air as its demeanor changes. He becomes more aggressive, shifting around.
JOSEPH (cont'd)
What's wrong?
EIMAR, the beast, continues his irregular shifting.
JOSEPH (cont'd)
Eimar, what's wrong with you?
Eimar looks at Joseph and growls. Tentacles drop down from his upper lip.
Joseph spies the glint of metal between the trees. He ducks down in between the overgrown bush. A few camouflaged men in metal armor move swiftly through the trees.
JOSEPH (cont'd)
(whispers)
Hunters.
(to Eimar)
Run.
But before Eimar reacts a spear comes flying and sinks right underneath his armor. Eimar rises on his hind feet and in his writhing he hits the crouching Joseph. Joseph rolls away from Eimar. One wrong step and Eimar can accidentally trample Joseph to death.
Joseph dives for a hollow in the tree trunk. Through the branches and heavy moss covering the hollow, Joseph watches Eimar run, but another spear hits him. This time the spear is tied to an iron chain.
Joseph notices the normally orange glowing veins on Eimar's body turn to dark purple around the spear wounds and spreads like a web through his veins. The pulsing of the veins becomes irregular.
Joseph watches as the hunters close in on Eimar.
Eimar on his part loses strength as more spears connected to chains sink into his body. The pulsating orange color has now dimmed through out his body. The purple color permeates his veins.
The hunters emerge from the thick forest.
HUNTER
The poison is working.
JOSEPH
Eitorians.
Eimar has now fallen still on the ground. The over grown vegetation, blocks him from Joseph's sight.
The EITORIAN HUNTERS congregate around Eimar and wrap the chains around his legs.
HUNTER
We got it, men. Let's bring in the
cage.
Joseph watches as another hunter rides a horse drawn animal cage.
Joseph makes a decision. He abandons his hiding spot and sprints at the carriage.
The hunters don't register his presence until he jumps onto the moving carriage. Joseph is very fast and has a strong build. He pushes the RIDER off the carriage. In his surprise the rider doesn't give much of a struggle. He just tumbles over. The leader of the hunters takes notice of Joseph.
HUNTER (cont'd)
Get him.
JOSEPH
YAAAWH
Joseph urges the horses to move, but the hunters surround the cart. The horses rise on their hind feet and don't go any further.
Three hunters congregate around Joseph. He tries to fight them off, but soon they drag him off the carriage and hold him down. The main hunter turns to his compatriots.
HUNTER
Go on men, load the beast up into the
cage.
The hunter walks to Joseph. The Eitorian hunters have black hair and dark eyes. In comparison, Joseph's bright blue eyes now glow brighter than normal. It's clear it's in reaction to the fear and anxiety he must be feeling. The Eitorian hunter looks at Joseph's eyes mesmerized.
HUNTER (cont'd)
I can never get used to those eyes.
(reaches for the
eyes, but pulls back
his hand)
You know, I've heard stories about how
you Stronglandians can tame these
beasts. They say you can control their
thoughts. Tell me can you see inside
my head with those eyes of yours?
JOSEPH
Let him go.
HUNTER
The tales say you trained them to
attack our villages. Kill our people.
The hunter looks at the subdued Eimar and then back at Joseph.
HUNTER (cont'd)
How the tables have turned.
JOSEPH
He's my friend. Please, let him go. He
didn't hurt any of you.
HUNTER
Your friend?!
The hunter laughs.
HUNTER (cont'd)
It's your lucky day. Your friend here,
will make us a handsome profit.
Joseph is distressed for his friend.
HUNTER (cont'd)
Oh don't worry. It isn't dead. Its
kind is resilient.
The hunter takes his sword out and points it at Joseph's neck.
HUNTER (cont'd)
Can't say the same about you. So I'll
give you a choice. You can choose to
die here, or you can choose to die
later at somebody else's hand.
Joseph hesitates for a moment. His sight shifts between the hunter's sword and the unconscious Eimar.
HUNTER (cont'd)
Come on, slave. What's it gonna be?
Joseph takes a couple of steps back.
JOSEPH
(to himself)
I'm so sorry Eimar.
He turns and runs. The hunter's laughs echo in the forest.
WE GO TO AN AERIAL VIEW. WE ZOOM OUT UNTIL WE TRANSITION INTO A TOP DOWN SHOT OF A TABLE-TOP DISPLAY. A DETAILED TOWN MINIATURE ON THE TABLE GIVES US A GENERAL LAYOUT OF THE LAND WE INHABIT.
INT. DECORATION SHOP - DAY
MARY is an 18 years old woman, fair skinned with black hair. Her eyes have an out-worldly glow to them. Mary examines a delicate and detailed town miniature setup in the corner of the decoration shop. Her eyes are wide with intrigue. The brightness of their glow increases, reflecting her emotions.
As we zoom out more we see that she's dressed in poor clothing.
The store is packed with people. They are mostly Eitorians, dressed in fancy medieval style clothing, signifying the time period they occupy. There are two Stronglandian store employees mopping the floor and cleaning. Their eyes' glow is dimmer than Mary's. They walk around hunched over giving off a subdued and depressed demeanor.
Mary circles around the display. As she does she bumps into a 5 year old Eitorian BOY, playing with a toy sword. The boy looks up at Mary and points the sword at her.
MARY
(smiles)
Oh, no. Don't hurt me.
BOY
(Aggressively)
Get away from me, slave!
Mary's smile disappears. The boy's mother looks over and pulls her son closer to her.
MOTHER
(hushed tone)
What did I tell you about these
people! Stay away from them.
Mary turns away towards a fancy dress hanging by the store window. A tear rolls down her cheek, which she promptly wipes away.
The Eitorian STORE OWNER stands beside Mary and adjusts some products on the shelves.
STORE OWNER
That dress would look fantastic on
you!
MARY
Huh?
STORE OWNER
But it's a bit too expensive.
MARY
Doesn't matter anyway. It's not gonna
change who I am.
The store owner looks around and then leans over to Mary.
STORE OWNER
Maybe it's not you who needs to
change.
Mary sneaks a look at the store owner, but doesn't maintain eye contact.
The door to the store opens and MARCUS walks in. He's a tall Eitorian, impeccably dressed, almost royalty. He is flanked by two powerful guards. The one on his left is more prominent, DUDLEY.
STORE OWNER (cont'd)
Oh dear, Oh dear, Oh dear.
The store owner walks over to Marcus.
At Marcus' entrance, everyone looks at him in reverence. They bow slightly. Only Mary pretends she doesn't see him.
The young boy a few feet from Mary is busy playing with the sword, fighting invisible enemies.
The STORE OWNER walks towards Marcus with a nervous smile on his face.
STORE OWNER (cont'd)
Sir Marcus! I wasn't expecting you!
How can I be of service? Anything you
need ...
Marcus holds up his hand to stop the store owner from continuing his banter.
MARCUS
I want a progress report. The
anointment festival for Sir Patrick's
son is today. Is everything ready?
STORE OWNER
Oh dear. Oh dear. Of course sir, we've
already prepared Liberation Square
since yesterday. My men are over there
finalizing the setup as we speak.
Here let me show you the plan. If you
follow me.
The store owner shows Marcus the town mockup. He points at a decorated Liberation Square. He is clearly proud of his work.
A few feet away, the five year old boy tugs on his mother's dress.
BOY
What's an anointment festival?
MOTHER
It's when the first born son of the
Eitorian ruling family is ordained to
be the next Count of Westerden Realm.
When he grows up, of course.
BOY
But you said Sir Patrick's son is an
abomination, a half breed.
His mother puts her hand over the boy's mouth.
MOTHER
(panicked)
Shuu
But it's too late. Sir Marcus and almost everyone in the store heard him.
Marcus turns around.
MARCUS
How dare you disrespect our Honorable
Patriarch?
Marcus walks towards the woman. He dwarfs her.
Mary bravely steps between Marcus and the mother.
MARY
He's just a kid. I'm sure he didn't
mean it.
The store owner is wide eyed.
STORE OWNER
Oh dear, Oh dear.
Marcus looks her over and then turns to the store owner.
MARCUS
What's that doing here?
STORE OWNER
I'm sorry sir. She's harmless. Comes
in here once in a while.
MARCUS
I thought a respectable establishment
such as this, wouldn't let
Stronglandian filth in. Maybe I should
be taking my business elsewhere.
STORE OWNER
NO. No. That won't be necessary.
The store owner hesitates for a moment, but then grabs Mary's arm.
STORE OWNER (cont'd)
Thief.
Mary snaps surprised at his sudden aggression.
MARY
What?
STORE OWNER
What else did you steal? Tell me.
The store owner glances at Marcus, wanting to see if his display of anger pleases him. Mary struggles against the store owner's grasp.
Marcus watches the store owner critically.
EXT. DECORATION SHOP - DAY
Joseph runs through the snowy streets of the town, glancing back every few steps. He slips a couple of times but recovers himself before wiping out. Joseph clears the fresh snow flakes from his face, as he slows down and looks around.
People around him are moving quickly, trying to get out of the cold.
Joseph stops at a light pole. The flame in the pole's glass enclosure dances wildly. He fidgets, shifting around, looking for Mary.
JOSEPH
Mary. Mary.
(to himself)
Come on, Mary. Where are you?
He sees her through the store window. The store owner has Mary in his grasp.
Joseph sprints to the store.
INT. DECORATION SHOP - DAY
The store owner drags Mary to the back of the store. Mary struggles, pulling him in the opposite direction.
STORE OWNER
Come along now. Stealing won't go
unpunished on my watch.
MARY
It's me. You know me. I didn't steal
anything.
Joseph comes in full force and shoves the man back, right into Marcus. And in the same swift motion, pulls Mary free from his grasp.
JOSEPH
Leave my sister alone.
The store owner scrambles away from Marcus.
STORE OWNER
Oh dear. I'm so sorry sir. Oh dear.
Here let me adjust your tunic
Marcus shoves the store owner aside.
MARCUS
(to Joseph)
Insolent boy.
Marcus gestures to Dudley to get Joseph.
He takes out an iron stamp and gives it to the second guard.
MARCUS (cont'd)
Heat this.
Dudley smiles as he walks towards Joseph and Mary.
MARY
Joseph. Catch.
Mary snatches the wooden sword from the boy's grip.
BOY
Hey!
Mary chucks it to Joseph. With a sharp swing Joseph hits Dudley's hand with the sword as he tries to grab him.
Dudley holds his hand in pain.
Joseph continues to backup towards the door.
JOSEPH
Mary go.
But Mary doesn't leave his side.
Dudley attacks again. Joseph uses his sword to fling a vase at Dudley. Dudley deflects it away with a swing of his arm. It smashes into a shelve with other delicate glass products. It shatters into a million pieces. The crash triggers a chain reaction. Other products on the shelve teeter for a moment, and then crash down to the ground.
STORE OWNER
Oh dear. Oh dear. Please. Please.
Stop.
Joseph swings again. This time Dudley grabs a hold of the sword and yanks it from his hand. But Joseph doesn't let go. He uses his momentum to smash into Dudley with his shoulder. They stammer backwards and topple over the town table top display. It crumbles down under their weight causing more havoc.
The store owner is close to tears.
STORE OWNER (cont'd)
Oh, no. Our town miniature. We've been
working on this for weeks. Oh dear. My
store is ruined.
Joseph scrambles to his feet and backs away, but Dudley trips him. Joseph falls backwards. Mary tries to help him up.
MARY
Let's go. Let's go.
But it is too late. Dudley is already on his feet. He grabs Joseph by the collar lifting him up. He spins him around and immobilizes his movement.
Mary tries to attack Dudley, but he easily kicks her away. She falls backwards, beside the boy and his mother. The mother helps Mary up, looking at her sympathetically.
Mary tries to resume her interference, but the mother holds her back gently.
MOTHER
Don't. It'll only make things worse.
Mary looks at her brother, distressed.
The second guard grabs the iron stamp from the flame, now glowing red from the heat. He hands it to Marcus.
MARCUS
Insolent slave. Do you know who I am?
JOSEPH
All you invaders look alike.
Marcus brandishes the glowing red stamp. It's head is the size of a small coin, with intricate markings on it. Joseph looks at it scared. He tries to get free, but Dudley holds him tight. The other guard assists Dudley in immobilizing Joseph completely. They entangle his legs with theirs to prevent him from moving.
MARCUS
Invaders? We've brought order and
civility to this savage land and its
barbarous inhabitants.
The Stronglandian employees look on despondently. They themselves have different marks on their cheeks.
MARCUS (cont'd)
For a country called Stronglandia, it
didn't put up much of a fight against
the great Eitorian people.
JOSEPH
Great?! You're a bunch of
opportunistic ...
Marcus slaps Joseph hard interrupting him. He holds his face to the right and holds up the stamp close to Joseph's face. Joseph can feel its heat. He looks at it from the corner of his eyes, which are glowing brighter than ever.
MARCUS
I can see fear in your devil eyes.
Good. Let this mark always remind you
how all Stronglandians are made to
serve us.
Mary can't stop herself any longer. She charges Marcus, but the store owner holds her back.
MARY
Let me go.
The store owner covers her mouth with his hand. Mary bites it.
STORE OWNER
(in pain)
Oh dear.
He hides the pain behind a phony smile.
Marcus stamps Joseph with the red hot stamp on his left cheek.
Joseph screams in agony. The guards let Joseph go. He falls to his knees. The store owner releases Mary and she runs to her brother.
MARY
Why? Why? He didn't do anything to
you.
Marcus ignores her and turns to the store owner.
MARCUS
I expect you will ensure this never
happens again.
Marcus walks out accompanied by his guards. On the way out, Dudley kicks Joseph.
All the people in the store stare at Joseph, whose hand hovers over the burn mark on his face, not daring to touch it. Mary helps him leave the store.
The young boy and his mother watch on.
BOY
He got what he deserved.
The mother kneels beside her kid and holds both his shoulders firmly.
MOTHER
I don't want to ever hear you talk
about them like that again, you hear?
The son is surprised, but nods obediently.
EXT. DECORATION SHOP - DAY
Joseph and Mary walk away from the store. Joseph holds a fist full of snow against his burnt face.
Mary stops and gently takes Joseph's hand off his cheek. The snow has eased the intensity of the burn. The stamp's mark is now visible; a circle with a hammer in the middle.
MARY
This is all my fault.
JOSEPH
We need to stay out of their way.
You've seen how they think of us as
nothing more than slaves.
MARY
Not all of them. Some of them are good
people.
JOSEPH
No Mary. All of them. Did anyone in
that store help us? No. Not a single
Eitorian lifted a finger.
MARY
Joseph I'm not a baby, I understand
they hurt us. But just cause we've
been hurt doesn't mean we stop doing
the right thing.
JOSEPH
I am doing the right thing, Mary. I am
doing the right thing. I'm trying to
protect you. Can't you see that?
You're the one who's looking for good
where there isn't any. We need to look
out for ourselves.
Mary hugs Joseph.
MARY
I love you.
Joseph's anger dissipates.
JOSEPH
What? Why you gotta do that when I'm
angry?
They part and start walking.
MARY
Cause... I know you can't be angry at
your little sister, when she hugs you.
JOSEPH
Oh so, you're manipulating me?
MARY
(smiles)
I wouldn't dare.
EXT. EDGE OF TOWN - DAY
A wide shot of an old town.
The old buildings have a fairy tale architecture to them, except they are worn down and failing. In it's prime, this town must've been a beauty, but neglect and the Eitorian occupation have clearly taken its toll. The buildings once painted with bright colors are now faded and in tatters. All sorts of mould covers them. The roads are broken up. Even the Stronglandian people walk around as if carrying a heavy burden.
Smoke rises from chimneys and fires across the town. People huddle here and there around the fires to keep themselves warm.
We close in on a blacksmith store. It's a small two story building, almost falling apart at the seems. The store is in the bottom level. The second level is the blacksmith's home. Round the back, there is a small barn, with a few farm animals. It is the last building on the street before opening up into Liberation Square. The street is lined with other buildings. Some of them are taller, three or four levels, some are one, but all are in a bad shape.
Liberation Square is a large open grassed area. The town surrounds it from the back and the left sides. A tumultuous river is on the right side of the square. It runs from the town all the way into the thick forest.
A few hundred feet before the forest, stands a tall watch tower. Marcus' soldiers, identified by his sign, a circle with a hammer in the middle, man weapons at the top of the watch tower. A dozen other soldiers patrol the perimeter. There is another watch tower in the distance, south of the first one.
A stage is setup in the middle of Liberation square. Servants, wearing shirts with a monochrome illustration of a lion's head, hang banners with words like "Anointment Festival" and "Eitorians Celebrate with the House of Patrick". The banners are colorful.
Other servants prepare tables with all sorts of food. There are two distinct groups of soldiers. The ones with a lion insignia on their chest armor, are scattered around the area, helping with the setup. While the other group, who wear Marcus' sighn, is not too involved in the preparations. They walk around mostly looking disgruntled, harassing Stronglandian citizens.
INT. BLACKSMITH STORE - CONTINUOUS
ZAKARY, the blacksmith, takes out a sword from a furnace. The blade is red hot. He hammers it into shape.
Joseph puts a bucket of water beside Zakary and winces at the sight of the hot metal. Zakary notices and stops what he's doing.
ZAKARY
It doesn't look so bad.
Joseph is annoyed.
JOSEPH
I'm gonna go check on Mary.
Zakary nods and continues hammering the metal.
Joseph navigates around a bunch of stacked packages along the back wall. He hears a swish and looks back. A column of vapors rises from the bucket of water as Zakary dips the sword into it.
Jospeh walks around the stacks of stuff to a door, covered by a curtain. He enters into a ...
INT. ROOM - DAY
Mary settles in the middle of a group of young kids. The oldest is only 6 years old. They are all Stronglandians, as evidenced by their unique glowing eyes, except for one, SAUL, who's in the corner, alone. Joseph stands on the opposite corner of the room sneaking a dissatisfied look at him. He walks to Saul.
JOSEPH
Hey kid, wouldn't your father be looking
for you?
SAUL
No.
Mary gestures for Saul to come sit close by her.
MARY
Saul, come sit beside me.
SAUL
Okay.
Saul sits besides Mary. Joseph rolls his eyes annoyed as Mary fires him a look.
MARY
Welcome to the first day of classes.
I'm so happy all of you could make it.
Looking at your innocent faces, fills
me with much hope.
(beat)
Okay, I want you guys to show me your
hands.
Everyone of the kids raise their hands, including Saul.
MARY (cont'd)
What do you guys see above your thumb?
The kids look at the half circle with intricate markings tattooed around their thumb area.
MARY (cont'd)
People might think what identifies us
as Stronglandians, is our glowing eyes
or our fair hair, but that's not true.
It's our Emblem of Unity.
(beat)
Okay, I want everyone of you to turn
and shake the hand of the person next
to you.
The kids pair up and hold hands, such that their Emblems of Unity connect. And they make a full circle. It's as if two pieces of a puzzle come together and made a complete picture
MARY (cont'd)
This circle represents the core of who
we are. Now turn to another person and
shake their hands.
The kids do that. And the picture they form when their emblems connect is different, yet complete and makes sense.
MARY (cont'd)
You see, we are all different, we are
all unique, but these individual
differences are meant to come together
to form a unified whole. Each one of
us with their gifts and unique
characteristics are like members who
form the entire body of the
Stronglandian People. We can not exist
in the full meaning of the word
outside this body.
SAUL
But I don't have that tattoo.
JOSEPH
Well, buddy, it's an Emblem of Unity,
not a tattoo. And you're not
Stronglandian, are you?
Mary fires Joseph another look.
MARY
What Joseph means is that while the
Emblem of Unity is unique to
Stronglandians we believe the truth it
represents is common to all people. So
even though you might not have it, it
doesn't mean you can't live in that
truth as well.
Joseph turns to the kids.
JOSEPH
But kids, you gotta remember,
Eitorians want to erase our beliefs.
They are not interested in the truth.
They are not interested in fairness
for all, freedom for all. They are
only interested...
MARY
Joseph!
JOSEPH
...In one thing. Controlling all of us.
That's why they outlawed this Emblem.
Fewer and fewer newborns have it,
because parents would be thrown in
prison and never be seen again if they
give it to their kids.
MARY
Thanks Joseph, I think it's time to
move to our next segment, before our
time runs out.
The siblings exchange an angry look. Joseph raises his arms in surrender and backs out towards the door. He exits to ...
INT. BLACKSMITH STORE - CONTINUOUS
Joseph squeezes through the boxes on the way to the main store area.
ZAKARY polishes the sword.
ZAKARY
Mary still at it?
JOSEPH
Yeah.
ZAKARY
She's a smart girl, keeping our kids
educated about our ways.
JOSEPH
It's a losing battle.
Zakary throws Joseph the sword he just forged.
ZAKARY
Try this on for size.
Joseph makes a few skillful moves with it.
JOSEPH
What's one sword against so many?
Joseph stops when he spots an Eitorian man, GAMLEEL, approach the store with three soldiers. He puts the sword down.
JOSEPH (cont'd)
Woah, I told her she can't keep that
kid around.
ZAKARY
Huh?
JOSEPH
Look over there.
Zakary looks at GAMLEEL and the soldiers, worried.
JOSEPH (cont'd)
I'm gonna get them out. Stall.
Zakary nods as Joseph retreats to the back room. Zakary meets the approaching men.
ZAKARY
Gentlemen, how can I help you today?
GAMLEEL
This is the man I told you about. He's
holding a Stronglandian school
somewhere here.
ZAKARY
School? Sirs, this is a blacksmith
store.
GAMLEEL
My son told me all about it. It has
been happening under your noses for
years. They're brainwashing our kids
with strange Stronglandian lies.
The soldiers spread through the store, searching, knocking things over.
ZAKARY
Please, sirs. There is no need to make
a mess. I assure you, there is nothing
here.
One of the soldiers sees the curtain covered door and moves the curtain to the side. He gives Zakary a cold stare.
SOLDIER 1
Over here.
One of the soldiers and Gamleel walk over. The third soldiers grabs a hold of the distressed Zakary.
SOLDIER 1 (cont'd)
Stay with the blacksmith.
(to Zakary)
You'll answer for this.
INT. ROOM - CONTINUOUS
Joseph manages to get all of the kids out through a small escape door in the back of the room. He has put an iron bar against the door leading in from the store, to block it from opening. The soldiers outside slam against it. And before him and Mary can exit the soldiers crash through.
GAMLEEL
See I told you. Get them.
SOLDIER 1
You. Hold.
Joseph pushes Mary outside.
JOSEPH
Run.
The soldiers follow them.
EXT. BACK ALLEY - CONTINUOUS
Joseph and Mary hide in the middle of a hay stack.
JOSEPH
I told you it's a bad idea to have
that Eitorian kid around. You see, his
father came looking for him.
MARY
It's not his fault. He’s just a kid.
JOSEPH
I can’t believe you. Still making
excuses for them. Wake up Mary.
SOLDIER 1 (O.S.)
Here they are.
Joseph looks up and sees the soldiers approach them.
JOSEPH
We gotta split up. I'll get them to
follow me.
Joseph pushes the hay stack and it lands on the soldiers.
JOSEPH (cont'd)
Go.
Mary runs.
Joseph rams one of the soldiers and that soldier hits the one behind him. They both fall to the ground. Joseph bursts out running.
SOLDIER 1
(to the other
soldier)
Get up you fool. You go after the
girl. I'll get the boy.
EXT. STREET - CONTINUOUS
Mary runs through the snow and mud layering the road. She approaches an intersection. The soldier is hot at her tail. Mary makes a left turn and disappears from view.
POV: SOLDIER 2
The soldier reaches the intersection, but Mary seems to have disappeared. A horse drawn carriage accompanied by a few guards on horses strut along heading towards Liberation Square. One of the guards is ALFREDA.
Alfreda is a forty something, Stronglandian woman, beautiful, her hair is dark with gray streaks running through it. Her blue eyes glow fiercely.
The soldier looks around until he sees Mary hiding behind a few barrels. He pretends he doesn't see her, but walks in her direction. Mary bolts out of her position, narrowly avoiding the soldier. He chases her down and catches her right in the path of the caravan.
SOLDIER 2
Got you, you little devil.
Alfreda rides to the soldier as the carriage comes to a full stop.
ALFREDA
Whoa. Whoa. Soldier, what has this
girl done to you?
SOLDIER 2
This is a security matter.
MARY
I didn't do anything wrong. Let me go.
SOLDIER 2
Shut your mouth girl.
He drags Mary away from the cart.
SIR PATRICK (O.S.)
Stop.
The soldier snaps back and takes a knee when he sees Sir Patrick. Patrick wears a knight's armor. There is a lion head engraved on his chest piece. A similar emblem is engraved on the side of the carriage.
Alfreda backs up, making way to Sir Patrick.
SOLDIER 2
Sir Patrick. I'm sorry to disturb you.
Mary doesn't kneel. The soldier pulls her down forcefully.
SOLDIER 2 (cont'd)
(hisses at Mary)
Kneel down.
MARY
I will not.
Alfreda admires Mary.
SIR PATRICK
What's going on here?
SOLDIER 2
This girl has broken Eitorian law.
She's been caught teaching kids their
lies.
MARY
I did nothing wrong.
JAIME, Patrick's wife, a Stronglandian woman, blond hair, bright glowing blue eyes, walks out of the carriage, carrying her son; a beautiful child, almost 1 year old. He has the same darker hair as Eitorians, but his eyes have the familiar Stronglandian out-worldly glow.
Mary stares at the baby surprised.
JAIME
My dear husband, surely you will not
allow this soldier to arrest an
innocent girl.
Patrick looks at his wife, then turns to Mary.
SOLDIER 2
But it is the law.
SIR PATRICK
Don't talk to me about the law
soldier. I reside over it. Let her go
and leave.
The soldier lets go of Mary and leaves in haste after bowing in respect to Sir Patrick.
Jaime approaches Mary who stares at the baby.
JAIME
He's beautiful, isn't he?
MARY
Yes. I've never seen ...
Mary trails off.
JAIME
I know.
SIR PATRICK
Jaime, love, we need to get going. Our
son's Anointing Ceremony is about to
start.
JAIME
Isn't there anything we can do for
her?
Patrick turns to the carriage and calls out.
SIR PATRICK
Hadrian. Hadrian.
A young Eitorian boy, seventeen years old, pops out of the carriage.
SIR PATRICK (cont'd)
Hadrian make sure this young lady gets
home safely?
HADRIAN
Yes sir.
Jaime smiles at Mary and Mary returns the smile.
Jaime and Patrick go back inside the carriage. The caravan starts moving. Alfreda passes Mary.
ALFREDA
Stay strong.
Alfreda gives Mary a wink. Mary smiles back.
BREAK ONE
INT. CARRIAGE - CONTINUOUS
Jaime doesn't look happy. She watches the poor people outside hustling along. The luxury of the carriage stands in contrast to the torn down condition of its surroundings.
Patrick puts his hand on Jaime's.
SIR PATRICK
Things will change?
JAIME
When? Before this young lady gets
arrested again? Thrown in jail?
or maybe before more of my people
freeze to death? When will it stop? I
can't continue seeing my people suffer
while I live in luxury.
SIR PATRICK
I've listened to you and we're
anointing our son the next Count of
the Westerden Realm. Do you understand
the risk I'm taking? Such a thing has
never been done in the history of
Eitoria.
Jaime looks out of the window and doesn't respond.
TRANSITION SHOT: CAMERA PANS UP SHOWING HADRIAN WALKING WITH MARY. THEN AS IT RISES WE SEE JOSEPH CLIMB THE SIDE OF A BUILDING A FEW BLOCK AHEAD.
EXT. ROOF OF BUILDING - CONTINUOUS
Joseph makes it to the roof and runs. The chasing solider lags behind. Joseph approaches the end of the roof and grinds to a halt. He looks back and sees the soldier catching up, his sword ready.
EXT. STREET LEVEL - CONTINUOUS
Alfreda and the rest of the guards ride in front of Patrick's carriage, heading towards Liberation Square. The closer they get, the more crowded it gets.
ALFREDA
(addresses the guard)
Keep sharp men. This is the nightmare
scenario we've been preparing for.
Crowds. No control...
She hears yells and turns towards the commotion. A few folks point at the roof where Joseph and the solider face off. The soldier approaches Joseph confidently.
EXT. ROOF OF BUILDING - CONTINUOUS
Joseph's eyes shift from the sword to the soldier's face. He then backs up and makes a dangerous run towards the edge of the roof.
EXT. STREET LEVEL - CONTINUOUS
Alfreda watches Joseph jump from the roof and holds onto the edge of a balcony on the opposite building, which is three stories higher than the first. Joseph climbs up the wall skillfully.
The guard, taken by surprise, attempts the same jump but doesn't make it. He hits the side of the building and falls down a one story drop. The guard is disoriented.
ALFREDA
(to the guards)
Keep to the plan. I'll check this out.
Alfreda jumps off her horse and sprints into motion towards the taller building. It has a scaffold erected against one face of it.
EXT. ROOF OF BUILDING - CONTINUOUS
Joseph makes it up to the roof of the taller building and looks behind him, but the guard isn't there. He lets out a sigh of relief and heads towards the scaffold.
Before he gets to the scaffold, Alfreda jumps off of it on the roof, right in his face.
Joseph tries to retract back, but Alfreda makes a surprising move, bouncing off a half built wall and lands beside Joseph. Before he knows it, she kicks his legs from underneath him.
Joseph is a good fighter though, and he takes Alfreda down with him.
JOSEPH
Turning on your own people?
They roll around. Alfreda ends up on top of Joseph, with a dagger at his neck. She turns his face to the side and looks at the mark Marcus stamped on his face.
ALFREDA
You belong to the House of Marcus.
JOSEPH
(angry)
I don't belong to anyone. Maybe you
do.
ALFREDA
Are you plotting against Jaime? Did
Marcus plant you here?
Joseph tries to struggle, but Alfreda presses the dagger to his neck.
ALFREDA (cont'd)
Tell me.
JOSEPH
I don't know what you're talking
about. All I did was protect my
sister.
Joseph and Alfreda lock gazes. Both of their eyes shine with this out-worldly glow.
EXT. STREET - DAY
Hadrian and Mary walk down the street.
MARY
I can find my way from here.
HADRIAN
Sir Patrick ordered me to make sure
you're safe. I can not disobey.
MARY
You always do what you're told?
HADRIAN
You mean you don't?
MARY
Well, when it makes sense...
Hadrian is not paying attention though. He steps into a pile of horse manure.
HADRIAN
Disgusting.
Hadrian backs up trying to wipe off his boots.
HADRIAN (cont'd)
Disgusting, how can you people live
like this?
Hadrian trips on the uneven ground, and holds on to the nearest thing within reach. Unfortunately, it turns out to be a water powered spinning gear, which runs a wine press. His long sleeve gets tangled in the rotating gear and his hands gets pulled towards its teeth. It'll break every bone in his hand.
Hadrian is terrified. He tries to pull free but can't. He's moments away from losing his hand.
Suddenly, a wooden rod gets shoved in the mechanical part of the gears halting it. Hadrian looks up and sees Mary on the other end of the rod. But the rod isn't going to hold much longer. It cracks under the force of the gears.
MARY
Pull yourself free.
Hadrian tugs forcefully. His sleeves tear and he falls backwards landing in the horse manure he tried to avoid in the first place.
Mary lets go of the rod and rushes to Hadrian.
MARY (cont'd)
Are you alright?
She helps him up.
MARY (cont'd)
Show me your hand.
Mary takes his hand and examines it. She notices an old scar, which bears a striking resemblance in its shape to the Emblem of Unity she has on hers. She stares at it for a moment and then traces it's outline with her finger.
MARY (cont'd)
Where did you get this?
HADRIAN
Oh, I don't remember. Had it forever.
Hadrian pulls his hand away awkwardly.
Mary turns him around and looks at the back of his pants, now dirty with the horse manure. She wrinkles her nose.
MARY
I don't know how to tell you this, but
you kinda stink.
Hadrian notices his dilemma for the first time.
HADRIAN
Disgusting. How am I suppose to go to
the ceremony like this?
MARY
Hmm... It is a problem isn't it?
Mary looks around and sees a shop manned by an older Stronglandian man.
MARY (cont'd)
Come with me.
They walk to the Stronglandian man.
MARY (cont'd)
Peace and prosperity to you good sir.
My friend here is in need of some
spare clothes. I don't have money on
me, but I was wondering if you would
show kindness.
The man looks at Mary then at Hadrian. He reaches down and grabs a rather old overall and gives it to Mary.
MARY (cont'd)
Thank you dear sir.
Mary passes the overall to Hadrian.
HADRIAN
You can not compel me to wear that.
It's an insult.
MARY
I think you mean thank you, right? You
can always go to the ceremony smelling
like horse manure.
Hadrian reluctantly takes the overall.
HADRIAN
Where am I going to change?
MARY
How about over behind that fence
there.
Hadrian looks at the fence and then at Mary in unbelief.
HADRIAN
You can't be ... Oh, this is so
humiliating
Mary turns around.
MARY
Don't worry. I won't look.
Hadrian's shoulders drop and then walks begrudgingly towards the half torn fence.
Mary notices some people congregate below a building towards the end of the street, which opens to Liberation Square. They point up at the roof of the building.
She walks closer and gets a better look at what's going on. It takes her a moment to realize it's Joseph on the roof, with a woman guard.
MARY (cont'd)
Joseph?
Hadrian approaches her wearing the old overall, over his fancy attire. He looks ridiculous.
HADRIAN (O.S.)
Who's Joseph?
MARY
My brother.
Mary rushes towards the crowd. Hadrian follows.
EXT. ROOF OF BUILDING - CONTINUOUS
Alfreda puts her dagger back in her sheath.
ALFREDA
Where is your sister now?
JOSEPH
You still don't believe me? I'm trying
to find her and you're delaying me.
MARY (O.S.)
(calls)
Joseph.
Joseph looks down and sees Mary at the bottom of the building.
MARY
Are you okay?
JOSEPH
(to himself)
Oh, thank God, you're okay.
Joseph gives Alfreda an "I told you so" look
JOSEPH (cont'd)
(to Mary)
I'm fine.
ALFREDA
Is that your sister?
JOSEPH
That's what I've been telling you.
That's when the soldier makes it to the roof. He takes out his sword.
SOLDIER 1
Stop that slave.
Joseph and Alfreda snap towards the soldier.
ALFREDA
Stand down soldier.
SOLDIER 1
I can't do that.
Alfreda gets in between him and Joseph.
ALFREDA
Bloody hell, Do you know who I am?
SOLDIER 1
I don't answer to you. I only answer
to Sir Marcus.
INT. STREET LEVEL - CONTINUOUS
Mary watches the events unfold.
HADRIAN
What did your brother do?
MARY
We're guilty of nothing except being
Stronglandians.
HADRIAN
That's ridiculous. Our laws are fair
to all.
Mary looks at him frustrated.
MARY
What rock have you been living under?
Hadrian is taken aback by Mary's verbal assault.
MARCUS (O.S.)
Hadrian.
Hadrian turns around.
MARY
You don't even know who you really
are.
Hadrian looks at her confused, then back at his father.
HADRIAN
Father!
Mary looks back and sees Marcus ride inside a carriage.
MARY
(to herself)
Oh no.
MARCUS
What are you wearing?
(points to Mary)
And what are you doing talking to that
Stronglandian filth?
HADRIAN
I'm not. I'm just doing a job.
Mary looks at him disappointed and then heads into the building.
MARCUS
You shouldn't be here right now. You
should be back in the castle. Get
inside. Now.
Hadrian complies.
EXT. ROOF OF BUILDING - CONTINUOUS
The standoff between Alfreda, the soldier and Joseph continues.
ALFREDA
You don't want to do this.
SOLDIER 1
Get out of my way Stronglandian. This
is none of your business.
ALFREDA
I am the head of Lady Jaime's personal
guard, Sir Patrick's wife.
SOLDIER 1
Not for long!
Alfreda takes out her sword.
ALFREDA
What do you mean by that?
The soldier gets his sword ready as well.
SOLDIER 1
Take it however way you want.
Joseph takes the opportunity as both Alfreda and the Soldier are busy with each other, and he jumps onto the scaffold. The sudden weight on the scaffold causes the scaffold to break away from the building, shaking dangerously. Some of the wooden blocks slip off and fall 3 stories to the ground. The crowd on the ground back away.
Joseph loses his balance. He falls off the scaffold, arms flailing. Luckily he's able to grab the edge of the scaffold and hangs on for dear life.
Joseph tries to swing his legs so he can wrap it around the scaffold pole to pull himself up, but fails. The scaffold leans dangerously. He looks down and sees sharp stakes around the scaffold. If he falls, he'll most likely be impaled and die.
JOSEPH
Help!
Joseph's fingers ache and slip bringing him closer to an uncermonial demise.
Suddenly the scaffold moves closer to the building. He looks up and sees Alfreda and Mary. Mary holds a rope attached to the scaffold and pulls at it with all her strength to prevent the scaffold from toppling over.
Alfreda reaches out to him.
ALFREDA
Grab my hand.
The distance between them isn't that great, but to Joseph it feels like a mile away. He gathers all his strength, and swings his body. With the forward swing, he leaps towards Alfreda and grabs her hand.
Alfreda demonstrates her strength even more clearly when she pulls him up and onto the roof
They both lay their panting.
Joseph sees Mary's face hover over him.
MARY
Are you okay?
JOSEPH
Yeah.
He turns to Alfreda as he gets up.
JOSEPH (cont'd)
Thank you.
As Joseph gets up he sees the Soldier lying in a pool of his own blood. He freezes. Mary stands beside him, holding onto his arm. They both stare at the dead solider.
ALFREDA
You better get out of here.
JOSEPH
What about you? Is that going to cause
you a problem?
ALFREDA
Don't worry about me.
Joseph and Mary don't move. They keep staring at the dead soldier.
ALFREDA (cont'd)
(urges them)
Go.
Joseph nudges Mary to move, but then stops and looks back at Alfreda.
JOSEPH
I'm sorry I accused you of working for
the Eitorians.
Alfreda gives him half a smile.
ALFREDA
I have a feeling we'll meet again. Now
go.
Joseph and Mary head off.
EXT. BRIDGE - LATER
Joseph and Mary sit on a bridge over a stream, which branches from the main river. The water stream rushes below them, as it heads deeper into the town.
They sit in silence staring straight ahead. They are not too far from where the ceremony is taking place.
EXT. LIBERATION SQUARE - CONTINUOUS
Sir Patrick, Jaime, Alfreda and their party proceed to the center of Liberation Square, where an elevated stage has been setup. A choir walks ahead of them but then parts into two groups as they approach the stage. One groups stands on the left and another on the right. Patrick and his party climb the stairs to the top of the stage and stand in a semi-circle around a golden basin setup in the middle. All through the choir sings solemn hymns. One group sings and the other responds to them, as if they are having a sung conversation. They are using a foreign language.
Sir Patrick takes a step closer to the basin. Jaime, carrying the child, does the same.
A priest dressed in a white robe with golden designs on it, steps up and stands in front of the basin, Patrick to his right and Jaime to his left.
The choir continues chanting their solemn hymns.
EXT. BRIDGE - CONTINUOUS
Joseph turns to Mary.
JOSEPH
We have to leave. There is no future
for us here.
MARY
Where are we going to go?
JOSEPH
Anywhere. Go North away from the
Eitorians.
MARY
Abandon our people?
Joseph stands up and faces the other way.
JOSEPH
This isn't a life Mary.
MARY
We have responsibilities.
JOSEPH
I'm so tired. Worrying about ...
about...
MARY
Me? You want to live your own life. I
understand. I'm not going to be upset
if you leave.
JOSEPH
Mary...
Mary starts to say something, but then stops.
MARY
I'm not a baby anymore. It really is
okay. Beside I can't live with myself
if I abandon the kids we teach.
JOSEPH
Enough with your dreams, already.
There will be no fairy tale ending for
us. We have to look out for ourselves.
Mary doesn't respond. She watches the ceremony continue on. The chanting has stopped.
EXT. LIBERATION SQUARE - CONTINUOUS
The priest picks up a small knife from beside the golden basin. He gestures for Sir Patrick and Jaime. They both extend their right hands.
The priest cuts both of their hands with the knife; a small cut.
Jaime and Patrick squeeze their hands, and their blood is mingled in the basin.
The priest lifts up a small oil glass bottle above his head.
PRIEST
This oil has anointed and blessed the
very first Eitorian Counts; our
Patriarchs; our ancestors of old. And
it continues to do so now.
The priest pours a portion of it into the basin and uses a golden spoon to mingle the oil with Patrick and Jaime's blood. He dips his thumb in the mingled blood and oil and approaches Jaime's baby.
PRIEST (cont'd)
With this holy ointment, we declare
that this child shall sit on the
throne of his father when the time
comes.
An unhappy murmur goes through the crowd.
A few soldiers standing in the back grumble. Their chest armor bears the emblem of the House of Marcus.
One of the soldiers is the one who stayed back with Zakary.
SOLDIER 3
This is heresy. Our most precious
traditions is being diluted by the
blood of a Stronglandian. How long are
we going to stand for this?
His comrade nods in agreement.
The priest approaches an eagle tied from its leg to a stationary stand. He dips the golden spoon in the basin and sprinkles the eagle with the blood mingled with oil. He then unhooks the eagle and it flies off.
PRIEST
Let the future of our nation sore to
new heights under the rule of the
House of Patrick.
The choir starts to sing again.
EXT. BRIDGE - CONTINUOUS
Joseph snorts at the Eitorian traditions.
JOSEPH
And they call us superstitious.
Joseph turns away from the ceremony and looks off in the distance, to the edge of the forest. He sees something which attracts his attention. There are suspicious movement there; men, carts. His sudden silence attracts Mary's attention. She looks at him and then follows his gaze.
JOSEPH (cont'd)
I've seen those guys before.
Mary looks and sees a horse drawn animal cage stop at the edge of the forest. There are a few men, holding spears and torches. Joseph recognizes the HUNTER who led the others in capturing Eimar.
EXT. EDGE OF FOREST - CONTINUOUS
The hunters dip their spears in a bucket with thick liquid and stab at some creature inside the cage. The more they do, the more the creature gets angry and rocks the cage back and forth dangerously. They are sufficiently far enough, that the singing of the ceremony choir and the people cover the growls of the caged creature.
After the men stab at it multiple times, they open the cage. A fearsome forest beast with a notable scar on its face jumps out disoriented. It's Eimar. Eimar tumbles around, clearly angry.
EXT. BRIDGE - CONTINUOUS
JOSEPH
Eimar!
The beast turns to the men unsteadily. It tips over and gets up again.
EXT. EDGE OF FOREST - CONTINUOUS
The effect of the poison is apparent over all its' body. His veins pulsate at irregular intervals. His normally glowing orange eyes have turned to black. His veins have turned dark purple around the stab wounds. The dark veins expand in a web effect. The wounds mend quickly, but the effect of the poison lingers on.
The guards use the spears and the torches to keep him at bay. One of the guards extends his spear, with a few clothing items dangling on its tip.
Joseph watches as the beast smells the clothing items, tenses up and turns around.
EXT. BRIDGE - CONTINUOUS
JOSEPH
What are they doing to him?
Eimar smells the air, then explodes into a sprint straight at the ceremony. At first it's unsteady, but seems to regain its strength quickly.
JOSEPH (cont'd)
We have to go.
MARY
We have to warn them.
Mary sprints towards the ceremony. Joseph runs and catches up with her.
JOSEPH
You're crazy.
They approach the ceremony. Joseph jumps on a food table. He knocks some of if off. His sudden action attracts Sir. Patrick's attention, as well as Jaime's and Alfreda's.
JOSEPH (cont'd)
Beast. BEAST. An attack is coming.
Beast.
Patrick looks in the direction Joseph points and kicks into gear almost immediately. He turns to Alfreda.
SIR PATRICK
Take Jaime back to the castle.
Sir Patrick jumps off the pedestal in the midst of his soldiers.
SIR PATRICK (cont'd)
The rest with me.
A soldier gives him a spear and a shield. They hustle to face off the beast, which is approaching quickly.
Joseph turns to Mary.
JOSEPH
Are you happy now? Let's get out of
here.
MARY
We have to help Jaime and the baby.
JOSEPH
They have their guards. Mary listen to
me. Eimar...
MARY
Who?
JOSEPH
The beast. He's not acting right.
Those hunters did something to him.
Joseph takes Mary's hand and drags her away from Eimar's path. As they head off, Mary sees Alfreda and two guards escorting Jaime off towards their convoy.
Joseph looks back and sees the enraged Eimar wrecking havoc to everything in his path; knocking off carts, tables, people
Sir Patrick and his soldiers face off against it. They try to push it back with their spears. Archers shoot at Emiar with their arrows. Eimar roars
EXT. LIBERATION SQUARE - CONTINUOUS
The crowds are running left and right. Screams and hysteria have dominated the setting.
In the mayhem, Mary notices three hooded men attack Jamie's group.
Mary tugs at Joseph.
MARY
Look.
Mary points at the attack happening.
JOSEPH
Mary this isn't our business.
Mary looks at Joseph annoyed and pulls free from him. She runs towards Jaime's group.
JOSEPH (cont'd)
Oh come on?
Joseph tries to head after her, but a mob of panicked people pushes him farther away from Mary
WITH MARY
Mary rushes towards the conflict between the three hooded men and Jaime's guards.
The crowd running around panicked slows Mary down.
In the mean time, one of the attacker successfully stabs the guard protecting Jaime. He falls to the ground. Alfreda and the remaining guard step in front of her for protection.
Mary has an idea. She jumps on a few boxes and starts yelling.
MARY
ANOTHER BEAST. LOOK OVER THERE.
This has the desired effect. The panicked mob changes direction and heads directly at Jaime. They run right through the conflict. The confusion gives Alfreda the opportunity to eliminate one of the attackers.
Mary runs straight at Jaime who stands behind the second guard and Alfreda as they fight the attackers.
Mary touches Jaime's shoulder. Jaime snaps at her afraid, but calms down when she sees Mary.
JAIME
It's you!
MARY
Come with me I know a good hiding
spot.
Jaime hesitates.
MARY (cont'd)
Your guards don't seem to be doing so
well.
On cue the other guard is stabbed. He falls back right into Jaime.
The remaining two attackers only have Alfreda to contend with. Although she fights fiercely, it's still two against one. As she defends against an attack from the one on the left the other leaves the fight and heads for Jaime.
Jaime gives the baby to Mary.
JAIME
Take him to safety.
Mary stands with the baby confused. The attacker grabs Jaime and pulls her back.
JAIME (cont'd)
Run!
Mary backs up, watching Jaime get dragged away. Alfreda kicks the other attacker away and goes to retrieve Jaime. The remaining attacker recovers from the kick and charges Mary.
JAIME (cont'd)
No. Get my son to safety. Now.
The attacker tries to snag the baby from Mary. But suddenly he is stabbed through the back. Mary covers the baby's eyes and turns away from the gruesomeness of the scene.
Alfreda looks back and just like that, Jaime is sucked away into the crowd and out of sight. Alfreda turns to Mary.
ALFREDA
Let's go.
Mary and Alfreda run away, but they are intercepted by another attacker, a large hooded man. He approaches them with his sword ready. Suddenly, Joseph charges him from the back and slams him with a thick piece of wood. It shatters on his back, but it doesn't knock the guy out, only gets him slightly disoriented and way more angry.
The attacker swipes his sword at Joseph, but Joseph dives and rolls avoiding the deadly impact. As the bad guy turns to Alfreda, Joseph charges again and tackles him to the ground. The man's hood comes off his head and Joseph gets a good look at his face. It's Dudley.
Dudley pushes Joseph off of him.
Alfreda attacks Dudley, forcing him to abandon his assault on Joseph.
Alfreda and Dudley have a heated sword fight. She is quite skilled, but Dudley is too.
Joseph picks up a brick and throws it at Dudley, distracting him. This gives Alfreda the opportunity to jump in the air and deliver a fierce kick to Dudley's chest. It sends him tumbling backwards into a fruit stand. It buckles and breaks under his weight. The fruits go flying everywhere, but Alfreda knows this is only a short respite.
ALFREDA (cont'd)
(to Mary and Joseph)
Follow me.
Mary and Joseph run after Alfreda towards the horse drawn carriage.
JOSEPH
Why are they after the baby?
ALFREDA
Isn't it obvious?
They pass by the scaffold, which Joseph almost fell off. There are stones and other material on it. And finally arrive at the carriage.
Joseph looks back and sees Dudley catching up with them.
ALFREDA (cont'd)
Get in.
Dudley charges Alfreda. Alfreda continues fighting him.
Joseph helps Mary into the carriage.
Joseph looks back and sees another hooded man head through the crowd towards them.
JOSEPH
There is another one.
Joseph looks around until his sight lands on the scaffold. He gets an idea and immediately puts it into action.
ALFREDA
What are you doing?
Joseph gets to the scaffold and starts to push it. The wood of it creeks and it teeters dangerously. With much effort the scaffold, which was already dislodged due to Joseph's earlier escape attempt, tips over and everything on it comes down on the approaching attacker.
Alfreda continues fighting Dudley. She avoids a hit from his sword and slashes his leg with her weapon. The injury only slows him down.
The scaffold and the equipment on it has buried the other attacker, but only momentarily. He's not fully incapacitated.
Alfreda kicks Dudley, in his injured leg. He falls back, dropping his sword. Joseph charges him and pushes him away, then picks up his sword.
JOSEPH
I'm with you.
Alfreda sees the other attacker get up from underneath the rubble. Dudley also gets up, albeit in pain, and takes out a dagger. He prepares to resume his assault on Alfreda
ALFREDA
Take the baby and go.
JOSEPH
What about you?
ALFREDA
Meet me tomorrow by the south
watchtower. Don't trust anyone. Now
go.
Joseph hesitates for a moment.
ALFREDA (cont'd)
Bloody hell. Go.
Alfreda charges the two attackers.
Joseph backs up to the carriage, jumps in and takes the rider's seat.
JOSEPH
YAAAWH.
Joseph rattles the reins and the horses start picking up speed. Joseph looks back and sees Alfreda engaged in a hopeless sword battle with the two men.
Joseph rides the cart furiously to try and get as far away as possible.
EXT. EDGE OF TOWN - EVENING
Joseph continues to ride the cart furiously. He occasionally looks back to make sure he is not being followed.
INT. CARRIAGE - EVENING
Mary sits with the baby on her lap.
MARY
Everything is gonna be alright, baby.
We're gonna find your dad, okay?
The baby coos.
JOSEPH
Mary, you alright back there?
MARY
Better. How do you think we'll get him
to Sir Patrick?
JOSEPH
Good question.
Some movement in the shadows of the treeline to their left attracts Mary's attention. She puts the baby down in a cushioned crib, secured to the floor of the cart, such that it doesn't tip over.
MARY
Hold on, buddy, Okay? Be right back.
The baby stands, but he can't peak over the edge of the crib. The sides are too tall for him.
EXT. CARRIAGE - EVENING
Mary moves to the front of the carriage and sticks her head out. She looks this way and that.
JOSEPH
We have to git rid of this carriage
soon. Every guard and his brother will
be looking for it. And I'm betting
some of them are in on this coup.
Mary doesn't answer. She's looking at the edge of the forest to their left. The town is on their right. It is dark except for a few fires here and there.
JOSEPH (cont'd)
What's wrong?
Mary squints at the darkness. She sees some movement, but then nothing.
MARY
I don't know, I thought I saw
something...
(yells)
Watch out.
Out of nowhere Eimar emerges from the thick tree line and charges them.
Joseph panics. He rattles the horses' reigns.
JOSEPH
Yaawh. Faster. Faster.
The beast is fast though. It rams the side of the carriage. The carriage goes on its right wheels for a moment and then slams down on all four.
Mary gets knocked back into the carriage.
Joseph looks back.
JOSEPH (cont'd)
Eimar it's me. Snap out of it.
But Eimar doesn't seem to recognize Joseph.
INT. CARRIAGE - EVENING
JOSEPH (O.S.)
(to Mary)
Are you alright?
Mary crawls to the crying baby in the crib. She holds him so he doesn't keep bouncing around in the crib.
MARY
Hold on kid. Joseph will take care of
us. He always has.
Mary hums him a lullaby.
EXT. EDGE OF TOWN - EVENING
Joseph rides frantically. Eimar closes in. He rams the side of the carriage again.
Joseph swerves.
INT. CARRIAGE - EVENING
The carriage shakes as Mary holds the baby tight. A box in the side of the carriage tips over and a bag of food rolls out.
Mary helps the baby sit down. She puts a couple of cushions around him.
MARY
Hold on, baby. I got an idea.
The carriage gets rammed again. And she loses her balance. She struggles to reach the bag of food.
Another shake.
The bag rolls into her grasp. She takes a hold of it and heads to the carriage's side door.
EXT. CARRIAGE - EVENING
Mary opens the door and throws the bag at Eimar.
MARY
Take that.
The beast jumps an impressive jump and devours the bag whole in mid air. It slows down for a minute as it chews the food.
The carriage right wheel goes over a rock. Mary is flung out of the side door, but manages to hold onto it. She dangles freely with only her hold onto the door keeping her from getting thrown outside. Joseph looks back and sees the perilous situation.
JOSEPH
Mary!
MARY
Keep going. It's still after us.
Mary struggles to reach the side of the carriage.
Joseph looks back and sees the beast gaining. Mary is very vulnerable. If the beast catches up, Mary is dead.
Joseph looks ahead and sees the road split into two. The left side is elevated. He decides on a dangerous gambit.
Joseph aligns the left side of the cart, where Mary is hanging out from, to the elevated area. The wheels go up on the elevated part, lifting the cart to ride on its right wheels. Mary flies back into the carriage and the door closes behind her.
Joseph adjusts the horses to the left, and the cart slams down on all its wheels again.
Joseph looks inside the carriage and sees Mary crawl to the baby. She gives Joseph the thumbs up.
The beast is now to their left, on the elevated part of the land. Joseph swerves away to the right, into a branch of the road, just as the beast leaps towards them. It lands behind the carriage.
Joseph looks back at the beast. It's too close for comfort. He looks forward and sees a watchtower a few hundred meters away. The watch area at the top of the watchtower is lit by a fire. He can see the silhouette of soldiers.
JOSEPH
Look. Soldiers.
He changes the direction of the cart and heads directly at the tower.
JOSEPH (cont'd)
If they see Eimar they'll shoot at
him. Maybe that'll drive him away.
Mary looks out of the window at the beast which is closing in again.
MARY
You better hurry.
EXT. EDGE OF TOWN - EVENING
Joseph and Mary's carriage gets closer to the tower. The beast is just a few meters behind them.
EXT. WATCHTOWER - EVENING
Three soldiers walk along the watchtower.
SOLDIER 1 notices the carriage approaching.
SOLDIER 1
Look at that.
The other two soldiers walk up behind him. They look at what he's pointing at.
SOLDIER 2
Is he crazy? What's he doing?
They look carefully. In the failing light it's hard to get a clear view. They make out Joseph and Mary waving at them. Joseph and Mary keep pointing at the beast behind them, but it's blocked from the soldier's view by the carriage.
Joseph swerves and they see the beast.
SOLDIER 1
(yells)
BEAST. Dip your arrows in the poison.
The soldiers take their bow and arrow. They dip it in a bucket of thick liquid.
SOLDIER 1 (cont'd)
Nock. Aim. Release.
They fire a volley of arrows
EXT. CART - EVENING
Joseph hears the arrows approaching before he sees them.
An arrow swishes into the carriage and embeds itself in the wood frame of the cart a few inches away from Mary's head.
Mary ducks, covering the baby for protection.
JOSEPH
What are they doing? They're gonna
save us to death.
Joseph swerves the carriage sharply as another volley of arrows whiz by them. A few arrows slam into the wooden body of the carriage. Mary looks back and sees two arrows pierce the beast's body below its back armor. It tumbles and loses its footing. But it gets up and retreats into the thick forest, as another wave of arrows whiz by it. It gets hit again.
EXT. WATCHTOWER - EVENING
The soldiers watch the beast disappear into the forest. They then turn their attention to the carriage which heads into the town.
SOLDIER 1
(to the other two)
Go after them.
EXT. SNOWY STREETS - EVENING
Five heavily armed soldiers run through the streets of the town, lead by SOLDIER 2.
SOLDIER 2
Over there.
The unit heads to where the soldier points; the carriage.
EXT. SNOWY STREETS, CART - EVENING
They get to the carriage and look inside, but it's empty.
EXT. SNOWY STREETS, AROUND THE CORNER - EVENING
Joseph watches the soldiers from afar going through the carriage. He turns to Mary who's holding the baby with her hand over his mouth. The baby has calmed down now and is not crying. Mary whispers him the same lullaby she sang him in the carriage.
SOLDIER 2 (O.S.)
Break into two teams and search the
area.
JOSEPH
We're not gonna be safe until we get
rid of Mr. Trouble here. I say we just
give him to the soldiers.
MARY
No way.
JOSEPH
Of course. Why would it be that easy?
Joseph gestures for Mary to follow him.
They walk away.
EXT. SNOWY STREETS - NIGHT
Montage of Mary and Joseph walking through the town.
They hide whenever they see any passersby.
BREAK TWO
EXT. BLACKSMITH STORE - NIGHT
Mary and Joseph hide behind a nearby building. The baby is asleep in Mary's arms. They watch the store.
MARY
Are you sure this is a good idea?
JOSEPH
Zakary will help us. Plus, they'll
never expect us to come back here.
Once Joseph is satisfied the streets are empty, he urges Mary to follow him.
JOSEPH (cont'd)
Let's go.
They run across the street to the Blacksmith store. They circle around it to a set of stairs leading to the second floor. They climb up in a hurry.
Joseph knocks on the door quietly and waits. No answer.
JOSEPH (cont'd)
(whispers)
Zakary.
No answer. Joseph and Mary keep looking around, worried someone will see them.
JOSEPH (cont'd)
Barn.
They head down again.
INT. BARN - CONTINUOUS
Joseph and Mary head into the barn. They hide among stacks of hay.
The baby stirs and wakes up. Mary tries to comfort him, but he starts crying.
JOSEPH
Be quiet kid. You'll get us caught.
MARY
Don't upset him anymore than he's
already upset. He must be hungry.
JOSEPH
I am hungry.
MARY
Well you're a big boy. You can handle
it. But we have to find something for
him to eat.
JOSEPH
Like what?
MARY
I don't know. Find something.
The baby cries.
MARY (cont'd)
Take it easy. Joseph will get you some
food.
A cow and a sheep walk closer to the baby, attracted by his crying.
Joseph looks at the baby annoyed.
JOSEPH
You mister are a lot of trouble. I
hope you're worth it.
MARY
(whispers)
Joseph!
The baby grabs Joseph's index finger and sucks on it.
JOSEPH
Hey!
MARY
Wait. He likes it.
The baby stops crying.
JOSEPH
Well, I'm certainly not going to let
him do that.
Joseph wipes his finger on his clothes.
WIDE SHOT
Mary and Joseph sit opposite each other with the baby in the middle. A horse and a cow look over them with interest. The moon shines through the broken roof of the barn right on them.
BACK TO INTIMATE QUARTERS WITH MARY AND JOSEPH
MARY
The baby needs food.
Joseph sighs.
JOSEPH
Fine. I'll go find something.
Mary puts her hand on Joseph's. We can see the Emblem of Unity on both their hands, side by side.
MARY
You're a good man.
JOSEPH
I hope that's going to be enough.
Joseph walks out leaving Mary alone. Mary comforts the baby who seems to have gotten tired from crying.
EXT. GARDEN OF TREES - NIGHT
Joseph climbs a tree, similar to the tree he climbed in the beginning of our story. He plucks two fruit from a branch. He puts one in his pocket and looks at the other. He remembers Eimar.
EXT. FLASHBACK FOREST - DAY
Joseph eats a fruit while resting his back on Eimar.
EXT. GARDEN OF TREES - NIGHT
Joseph climbs down.
INT. BARN - NIGHT
Joseph walks back in. Mary has fallen asleep, after setting a small fire surrounded by rocks. She used a cover from one of the horse's saddles to keep the baby and herself warm. The baby is still awake, however.
JOSEPH
You still up?
Joseph puts the fruit in front of the baby.
JOSEPH (cont'd)
Here you go. Hope you like it.
The baby crawls to the fruit and rolls it around, but he obviously can't open it.
JOSEPH (cont'd)
Fine. So needy.
Joseph breaks the fruit into little pieces. He gives a piece to the baby, who devours it.
JOSEPH (cont'd)
Slow down.
Joseph takes the smallest piece and eats it in one bite. He looks at the baby and gives him another piece.
JOSEPH (cont'd)
Guess you were hungry, huh?
Joseph takes out the second fruit from his pocket and sets it aside as he gets comfortable.
JOSEPH (cont'd)
This is for Mary okay? She's gonna be
hungry when she wakes up.
The baby reaches for it. Joseph moves it further away.
JOSEPH (cont'd)
A-uh. No. Not for you. You have enough
right in front of you.
The baby looks at Joseph with his innocent eyes, then returns to his piece of the fruit.
BABY FINISHES EATING. TIME PASSES.
The Baby lays on his back, letting the fruit crust fall away. He coos in satisfaction.
Joseph looks at him and suppresses a smile.
Mary moves in her sleep. It looks like she's having a bad dream. She mumbles incomprehensible words. As the seconds tick by her nightmare intensifies.
Joseph rushes to her side and caresses her hair.
JOSEPH (cont'd)
Shuuu. It's okay. Everything is
alright.
Joseph sings her the lullaby she sang the baby. The baby crawls and snuggles beside Joseph.
EXT. FLASHBACK. TENT VILLAGE
The lullaby melody echos into the flashback. We see a ten year old Joseph with his arm around an eight year old Mary. They hide in a hole in the ground inside a tent. Joseph sings her the lullaby.
A quick succession of images
Joseph and Mary's dad faces off with a bunch of Eitorian soldiers. In the background we see Mary and Joseph, sneaking a peak at the transpiring events.
The situation escalates as one of the soldiers pushes their father back. The father gets in the soldier's face again.
The soldier hits the father. Mary escapes from Joseph's grip and runs to her father. Joseph follows. She attacks the soldier and grabs at a medallion he wears on his belt. The Soldier pushes her away roughly. The medallion comes off in her hand.
Her father punches the Soldier. The Soldier stabs him through.
Mary and Joseph rush to their fallen father. Mary drops the medallion she grabbed off the soldier on her father's chest.
MARY
Oh no. Dad. No.
The Eitorian company walks around them without giving them a second thought. Her Dad takes a hold of Mary's hand.
DAD
Oh Mary, I love you so much.
The dad turns to Joseph.
DAD (cont'd)
I love you both. Oh God, I wish I
could've seen you grow.
(grabs Joseph)
Joseph, take care of your sister. You
hear me?
Joseph nods. He's still in shock. A tear rolls down the father's cheek. He stares at nothing as the life oozes out of him. He dies.
MARY
Dad. No. Please. Dad.
Mary puts her head on her father's chest as she sobs. Then she notices the medallion. it has a drawing of an eagle, fangs open for attack, carved on it. She looks at it as her anger bubbles up and then chucks it away with a scream.
INT. BARN - NIGHT
Joseph continues to sing the lullaby until Mary calms down.
EXT. BLACKSMITH STORE - NIGHT
Zakary walks back, carrying a few logs of wood. He's about to head to the second floor, when he sees the light of the fire in the barn. He frowns, puts the wood down and heads to the barn.
INT. BARN - CONTINUOUS
As soon as Zakary walks in, Joseph drags him behind a few crates, away from sight.
ZAKARY
Joseph, my boy. I was afraid you
didn't get away. But I should've known
better.
JOSEPH
Zakary, we need your help.
ZAKARY
Of course. We're like family.
Joseph gestures for Zakary to follow him. He shows him the sleeping baby.
ZAKARY (cont'd)
Is that Sir Patrick's baby?
JOSEPH
Yes. We have to take him back to
Patrick.
Zakary keeps looking at the baby. His thoughts drift off.
JOSEPH (cont'd)
Zakary!
ZAKARY
Yes. Yes. We have to give him back.
Joseph nods.
JOSEPH
I just want this whole nightmare over.
Zakary nods.
ZAKARY
Stay put. We'll figure this out in the
morning. Okay.
JOSEPH
Okay.
Zakary looks at the baby again, then smiles at Joseph, a nervous smile. He walks out.
EXT. BLACKSMITH STORE - CONTINUOUS
Zakary walks up the stairs slowly, head hanging, in deep thought, but then stops. He looks off in the direction of the watchtower then back at the barn. He is conflicted.
Zakary finally makes a decision and heads down the stairs, slowly at first but then picks up the pace as he walks off into the darkness.
INT. BARN - EARLY MORNING
Joseph is in a half seated position, head hanging, asleep. Mary and the baby are tucked under the cover. The fire has gone out a while ago.
The back end of a spear shoves him awake.
Joseph's eyes fly open. Above him stands Dudley.
Behind Dudley stands the soldier which arrested Zakary, beside the man himself.
Marcus rides his horse into view.
Joseph shakes his sister awake as he scrambles to his feet.
Mary groggy at the beginning, but her sleep melts away at the sight of Dudley and Marcus. She picks up the baby, protectively.
MARCUS
Foolish dog. You thought you could
steal what belongs to me and get away
with it?
MARY
This baby doesn't belong to you. Why
do you want him?
MARCUS
Shut up girl.
JOSEPH
How did you find us?
Marcus smiles and throws a bag of money to Zakary. It hits him and the money scatters all over the ground. Joseph looks at Zakary disgusted.
ZAKARY
(mouths)
I'm sorry.
Joseph's rage bubbles up.
MARCUS
Take the baby.
Dudley approaches Mary with a notable limp, but Joseph attacks him. This time Dudley is ready for him. He nails him hard in the stomach with the back of his spear. Joseph bends down in pain. Dudley follows it with a hit on his back. Joseph goes down hard.
Dudley forces the baby, now crying, from Mary's hand.
MARY
No. NO.
JOSEPH
Leave them.
Joseph reaches and grabs on Dudley's leg. Dudley kicks him in the face.
DUDLEY
Pathetic.
Dudley spits on Joseph. He puts the crying baby in a basket mounted on his horse.
Marcus laughs loudly.
MARY
You heartless beast.
Marcus watches her as she rushes to her brother.
MARCUS
I remember you.
Joseph forces himself up.
JOSEPH
Leave her alone.
MARCUS
Grab her too.
Dudley comes in forcefully. Joseph rushes him, but he's groggy from the beating he just got. Dudley knocks him down with a punch
Mary attacks Dudley, but he constricts her as she continues struggling.
Joseph tries to get up on all fours. He reaches for Mary but manages to only grab her scarf.
DUDLEY
Stop your struggling, slave.
MARY
I'll never stop fighting.
Dudley knocks her on the back of the head. Her body goes limp as she loses consciousness. He carries her and puts her on his horse belly down then mounts his horse.
Joseph shakes his head. His sight is blurry. But he sees the three horses riding away.
Joseph scrambles after them, walking unsteadily. He stumbles down, and Zakary supports him.
ZAKARY
I had no choice. They were going to
take everything from me.
Joseph shoves him away.
JOSEPH
Get away from me.
Joseph runs after Marcus and his horses.
EXT. FOREST - CONTINUOUS
Joseph crosses Liberation Square sprinting after Marcus and his men. Soon, he enters the forest. But they are way too fast. He chases them for as long as he can, but they disappear within the thick bush. Joseph keeps running and running. He finally runs out of steam and falls on all fours.
JOSEPH
(out of breath)
No. Mary. What did I do? Mary.
Joseph starts to cry.
EXT. FOREST - EVENING
Joseph walks aimlessly. His head hanging down in defeat. His eyes red from crying.
He slumps down out of sheer exhaustion by a tree. Joseph buries his face in his hand, bringing his knees to his chest; trying to make himself as small as possible.
Time passes.
EXT. FOREST ROADWAY - EVENING
A caravan consisting of three horse drawn carriages strut in a single file along a roadway cut through the thick forest. A couple of guards ride behind them.
Hadrian sits with Dudley in the riders' seat of the caravan in the middle.
They sit without talking, rocking back and forth as they travel the uneven road.
Hadrian reaches for an apple and turns around to go inside the carriage.
DUDLEY
What's that?
HADRIAN
She's probably starving. Going to give
her something to eat.
DUDLEY
Bad idea.
HADRIAN
Are you questioning me?
Dudley raises his hand in a gesture of surrender.
Hadrian enters the ...
INT. CARRIAGE - CONTINUOUS
Mary sits in a corner huddled in the cold. She glances up as Hadrian walks in, but then looks away. There is a bruise on the left side of her face, from the hit Dudley delivered.
Hadrian brushes a strand of hair off her injury. He appears distressed for her sake. She moves away from him.
Hadrian offers her the apple. Mary doesn't reach for it.
HADRIAN
I'm sorry how this turned out.
She glances at the apple and sees the scar on Hadrian's hand.
Mary reaches with a sudden move and holds Hadrian's hand. Hadrian is taken aback by this sudden action and Mary's strong grip.
MARY
Where did you get this?
Hadrian tries to pull his hand free, but Mary holds it tighter.
HADRIAN
I told you! It's just a scar. Why are
you so interested in it? Hey, let go.
Hadrian leaves the apple fall by Mary's foot and pulls his hand free. She picks the apple up and devours a bite.
HADRIAN (cont'd)
What's your problem? I'm trying to
help you here.
MARY
Kidnapping me? Stealing Sir Patrick's
baby? That isn't helping. I don't know
what world you live in.
HADRIAN
There is a lot more at stake than you
know. Our whole Eitroian way of life
can be destroyed.
MARY
Ah, like you destroyed the
Stronglandian way of life, right?
Hadrian waves her off frustrated and turns around to leave.
MARY (cont'd)
Do you even know who you really are?
Hadrian turns back to her.
HADRIAN
What's that suppose to mean?
Mary taps her Emblem of Unity.
MARY
That's not a scar. I bet you've never
met your mother. Have you?
Hadrian stares at Mary dumbfounded.
HADRIAN
How...
Mary looks at him as she continues devouring the apple.
HADRIAN (cont'd)
I shouldn't have come here. My father
is right. Stronglandians are liars.
Hadrian turns and walks towards the exit of the carriage.
MARY
Thanks for the apple.
EXT. CARRIAGE - CONTINUOUS
Hadrian sits back beside Dudley. Dudley looks at the unsettled Hadrian, but doesn't say a thing.
EXT. FOREST - NIGHT
The sun sets behind the thick trees and soon the light is but extinguished. Joseph shivers in the dark. He holds Mary's scarf close to his face.
The night sound of the forest is fearful. There are far away roars and grunts and many other animal sounds.
Joseph hits his head several times with his hands. Tears roll down his eyes.
He looks up and remembers ...
FLASHBACK. EXT. LIBERATION SQUARE - DAY
The confrontation with Jaime's attackers
ALFREDA
Take the baby and go.
JOSEPH
What about you?
ALFREDA
Meet me tomorrow by the south
watchtower. Don't trust anyone. Now
go.
EXT. FOREST - NIGHT
Joseph stands up and looks towards the city. Through the trees he sees the south watchtower. He wipes his face.
JOSEPH
I hope you're still alive!
He gets up and walks in that direction.
EXT. FOREST - CONTINUOUS
Joseph squints in the darkness. The only illumination comes from the moon and the distant faint orange light of some fires in the city.
POV EYES WATCH JOSEPH FROM BEHIND THE BUSHES
Joseph senses movement. He gets apprehensive and snaps around, but in the dark, he can't see anything.
Joseph's backs up near a bush.
Suddenly someone emerges from the bush and wraps her hand around his mouth to silence him. It's Alfreda.
ALFREDA
Shuu.
Joseph is terrified. Alfreda allows him to see her face. Joseph hugs her.
JOSEPH
You're alive. Oh, thank God. But how?
Alfreda returns the hug.
ALFREDA
It'll take more than a few gangsters
to take me down.
JOSEPH
They took Mary.
ALFREDA
Jaime's Baby?
JOSEPH
Him too.
Alfreda sighs.
ALFREDA
We'll get them back.
Joseph is distraught.
JOSEPH
You don't understand. It was Sir
Marcus. How can we... I'll never see...
Alfreda holds his face with both her hands.
ALFREDA
We'll get them back. Trust me.
Joseph calms down, deriving some comfort from Alfreda's confidence. He nods.
ALFREDA (cont'd)
We have a slight problem to deal with
first.
JOSEPH
Problem? What problem?
Alfreda urges him to walk with her. They keep to the dark shadows.
JOSEPH (cont'd)
Who are we hiding from?
ALFREDA
The beast. The one that attacked us.
JOSEPH
Eimar?
ALFREDA
You know that thing?
JOSEPH
Yes. I don't understand how he
could've attacked all these people.
Someone must've messed with his head.
ALFREDA
I know.
JOSEPH
You know? How?
Alfreda approaches a tree. She opens her backpack, takes out a clothing item and hangs it on the branches.
JOSEPH (cont'd)
What are you doing?
But Alfreda hurries to a different tree and does the same. Joseph hustles after her.
JOSEPH (cont'd)
(louder)
What are you doing?
ALFREDA
Shuu. Keep your voice down.
Joseph looks around apprehensively, while Alfreda checks a thick rope camouflaged to look like part of the brush. She checks it's connection to a huge wooden block hanging up on the tree. Joseph doesn't see the block.
Alfreda guides Joseph around the rope, so they don't set off the trap. They approach a bunch of dry sticks gathered in one area. Alfreda clears them off a wooden cover. She removes it revealing a hole.
ALFREDA (cont'd)
Get in.
Joseph hesitate. Alfreda jumps in first. Her actions resolve Joseph's worries and he follows in after her.
The hole is actually an entrance to a tunnel. Alfreda lights a dim gas lamp. In the flickering glow of the fire, Joseph sees a bunch of weapons hung on the wall; bow and arrows, a couple of swords, a shield. Alfreda partially covers up the hole, leaving a small opening to spy her surroundings.
Joseph slumps down in the corner. Alfreda keeps watch for any movement outside. She glances back at Joseph, who has an empty stare in his eyes.
ALFREDA (cont'd)
Everything is going to be okay.
Joseph doesn't respond.
JOSEPH
I was seven when my dad hid Mary and I
in a hole like this one. He did that
whenever the Eitorians came around to
collect their taxes. They took
something from every family; crops,
livestock, whatever they could get
their hands on. I hated them. But my
dad used to tell us, hate isn't our
way. We shouldn't return evil for
evil. Mary really bought into all this
stuff. Dad was her hero.
(beat)
That winter though we didn't have much
rain and we barely grew enough for us.
If we gave the Eitorians their taxes,
we would've starved to death. My dad
decided to stand up for them.
(chuckles bitterly)
Guess there is a first time for
everything, huh. I watched him argue
and argue, but they wouldn't have any
of it. They pushed him around, beat
him, while Mary and I watched on and
couldn't do a single thing. He was
weak.
(looks up at Alfreda)
He should've put his family first. We
should've packed up and left that
town. Maybe he'd be around now. Maybe
I wouldn't have had to take care of my
sister by myself all these years.
Alfreda lays her hand on his shoulder.
ALFREDA
You're not alone.
She holds his hand. Their "Emblem of Unity" comes together forming a perfect circle.
There is sudden crashing sound outside. They both look outside and see Eimar trapped in a thick net, lifted off the ground. Alfreda jumps out of the hole and sprints towards another heap of branches. Joseph is still in shock. He gets out of the whole watching Eimar thrash around in the net.
JOSEPH
Eimar. It's me. Take it easy.
But Eimar doesn't stop his thrashing.
ALFREDA
Get away from it.
Joseph looks back. Alfreda mans a mean looking arrow thrower.
JOSEPH
Don't kill him.
ALFREDA
Get out of the way
The net holding Eimar can no longer hold him. It starts tearing at the seams.
Alfreda abandons the arrow thrower because she can't get a good shot. She runs to Joseph and drags him away. Joseph is still in a state of shock.
The net breaks and Eimar smashes to the ground. He is still entangled in it, but it doesn't look like it'll take him too much time to get free.
Alfreda heads towards the entrance to the tunnel, with Joseph in toe. But Eimar, in his thrashing to get free from the net, has blocked the entrance.
ALFREDA (cont'd)
RUN.
She practically drags Joseph behind her. They run as fast as they can. They turn a corner in the path and see Alfreda's house, surrounded by a high and mighty looking fence.
ALFREDA (cont'd)
Faster.
EXT. FOREST, BACK WITH EIMAR - CONTINUOUS
Eimar gets free from the net. The arrows which hit him earlier on are still protruding from his body. Eimar shakes his head trying to get rid of the state of confusion the poison is still causing him. He sees the arrow thrower. He rams it and stomps it to bits.
Eimar raises his head and sniffs the air. It only takes him a moment to figure out the direction Alfreda and Joseph ran. He gives chase.
EXT. ALFREDA'S HOUSE OUTER PERIMETER - CONTINUOUS
Luckily, Alfreda and Joseph have enough of a head start to make it into Alfreda's home's outer perimeter.
They enter through a gate in the fence. Alfreda looks back and sees the swift Eimar rush towards them.
Alfreda closes the door and locks it. A moment later the beast slams against the fence. It slams again.
Alfreda and Joseph back up.
The beast slams into it a third time.
One of the stakes making up the fence cracks.
JOSEPH
This isn't gonna hold.
ALFREDA
Let's go.
They head inside the house.
INT. ALFREDA'S LIVING ROOM - CONTINUOUS
Alfreda locks the door.
She goes around and places iron grids in front of the windows and locks them in place.
JOSEPH
What's wrong with him? He didn't even
recognize me.
Alfreda locks another iron grid in place.
ALFREDA
Help me. Will ya?
Joseph helps Alfreda with the iron grids.
JOSEPH
Were you planning to kill him?
ALFREDA
Marcus weaponized it. He used a
special type of poison to control it.
Make it attack us.
(beat)
I thought I had planned for all
contingencies, but I never saw this
coming. I failed at my job.Joseph helps Alfreda lift an iron grid and locks it in place to protect the door.
ALFREDA
As long as this thing is out there,
there is no way we can get to Jaime
and your sister. It'll keep hunting us
until we're dead.
When they are done they back up to the middle of the house. Silence.
JOSEPH
Maybe he came back to his senses.
ALFREDA
No. No. It didn't.
Alfreda goes to a box and takes a sword out. She holds it in a defensive position.
JOSEPH
This doesn't make any sense. Use
Eimar to assassinate Patrick? It's a
horrible plan. He must've known it
wouldn't work.
ALFREDA
I don't know what he's planning. But
Whatever it is, we won't have much
time to ...
Suddenly the beast slams the side of the house. They both jump in fear.
The beast keeps circling and slamming the different sides of the house, looking for a weak spot. Then silence again.
Alfreda runs to the window and looks out. There is nothing there, then the beast appears as if from no where. It roars at her, then scales the house to the roof.
Eimar starts working the roof, pulling on the wood, trying to make its way in. Part of the roof starts to give way.
JOSEPH
I think he just found a weak spot.
ALFREDA
Come with me.
Alfreda moves a couch. Under it there is a door. She opens it revealing a set of stairs. Alfreda ushers Joseph down the stairs and then she goes in after him.
INT. ALFREDA'S HOUSE, BASEMENT - CONTINUOUS
Alfreda locks the door and it goes pitch black. She lights up a gas lamp and takes it off the wall. They walk deeper int the tunnel.
ALFREDA
We have to get to Patrick, It's the
only way to rescue Jaime and your
sister. He's the only one with enough
influence to stand up against Marcus.
JOSEPH
No way. No. We're not trusting anther
Eitorian.
ALFREDA
Listen to me, Marcus doesn't believe
Patrick deserves to rule the land. He
always thought Patrick was too soft on
Stronglandians and his marriage to
Jaime only solidified Marcus' beliefs.
To Marcus Patrick is a traitor; a
breaker of Eitorian traditions. For
Eitorians that's a big deal.
JOSEPH
I don't care about their politics and
feuding. I only care about Mary.
ALFREDA
And I care about Jaime. Both their
fates are intertwined now. You're
father was right. We have to act like
true Stronglandians and look past our
hate.
Suddenly there is a loud crash.
ALFREDA (cont'd)
He's in.
JOSEPH
We're safe here, right?
(beat)
Right?
ALFREDA
Hurry.
They arrive at a door. Alfreda opens it and enters ...
INT. ALFREDA'S WORKSHOP - NIGHT
The only source of light is Alfreda's gas lamp.
ALFREDA
Here, hold this.
Alfreda hands Joseph the gas lamp.
Alfreda lights one in front of a workbench. It gives a dim glow over a bow and a set of arrows on the workbench.
Joseph holds the lamp and looks around the room. In a dark corner of the room he sees different parts of dead beasts. Their back armor, their skeletons, hoofs.
JOSEPH
You're a hunter. That's why you knew
how to trap him. That's how you knew
about the poison. You murder them!
Alfreda looks back with regret in her eyes.
JOSEPH (cont'd)
You talk about about Stronglandian
ways and you kill these beings against
our ways. You're a hypocrite. Worse
you're an Eitorian sympathizer.
ALFREDA
That's the only reason Marcus kept me
around.
JOSEPH
Is that suppose to be an excuse?
ALFREDA
You're not the only one who had it
rough, Joseph. I was Marcus' slave for
ten years. I pray to God neither you
nor your sister ever know what that
means, because it was pure hell. I had
no power over anything, not even my
own self. The constant fear someone
can violate me against my will and I
can do nothing about it. It's torture.
(beat)
I had a skill Marcus needed and in
return he stayed away from me. So I
used it. But the fear never went away.
Not until Jaime rescued me.
Joseph looks at Alfreda shocked. He clearly didn't expect what he heard.
Alfreda opens a little drawer in her work bench and takes out a glass jar with some thick yellowish liquid. She proceeds to open the jar carefully. Joseph looks at her unable to decide what to do.
ALFREDA (cont'd)
We have no time to quibble and lay
blame. Marcus is the real villain
here. Don't forget that.
The crashing continues top level as the beast continues its search.
Joseph looks over Alfreda's shoulder.
Alfreda dips the tips of the arrows in the jar.
JOSEPH
Is that the poison? You're not going
to kill him.
ALFREDA
I'll do what I have to do to protect
Jaime. You should do the same for
Mary.
Alfreda finishes off dipping the tips of the arrows in the poison. As she does, she places each one in an arrow pouch.
Joseph hears the noise of wood breaking apart. Joseph looks through the door and sees light streaming through as the beast breaks up the door into the tunnel.
Joseph locks the door to the workshop.
JOSEPH
He's in the tunnel.
Alfreda takes the bow and slings the arrow pouch over her shoulder.
Alfreda takes another glass jar from the drawer and smashes it on the ground. Once the liquid spills out it makes green smoke. It has a very poignant smell. Joseph starts to cough.
ALFREDA
It'll hide our scent. Follow me.
They head deeper into the tunnel. When they are more than half way through, they hear the crashing of the workshop door as it breaks under the weight of the beast.
ALFREDA (cont'd)
Run.
They run. The more they progress the narrower the tunnel becomes. In a few minutes they arrive at the exit they had hidden in earlier.
Joseph grabs one of the swords hung on the wall along with its sheath. Then he climbs out of the tunnel after Alfreda.
EXT. FOREST - CONTINUOUS
Joseph secures the sword around his waist as he follows Alfreda. They look back and see the ground heaving up and down. The tunnel is too small for Eimar.
ALFREDA
This isn't gonna slow him down for
long
Alfreda gestures for Joseph to follow her. They head towards a fenced stable.
EXT. ALFREDA'S HORSE STABLE - CONTINUOUS
Alfreda and Joseph walk in. There is only one horse in there.
ALFREDA
Get on.
Alfreda jumps on the horse and helps Joseph hop on behind her.
Joseph keeps a tight grip on the lamp with one hand, and the other arm he wraps around Alfreda's waist.
They ride out.
BREAK THREE
EXT. FOREST - CONTINUOUS
They ride furiously through a path between the trees.
Joseph looks behind him and sees the ground heaving still.
JOSEPH
I shouldn't have judged you.
ALFREDA
Joseph, we have to get our priorities
straight. Jaime and Mary come before
anything else. Do we agree on this? Do
we?
JOSEPH
Yes. Yes.
Joseph looks behind him and sees the ground exploding and Eimar climbing out of it like a strange parasite breaking out of the skin.
JOSEPH (cont'd)
EIMAR.
Alfreda looks behind her. She urges the horse to run faster. She looks back again, and the beast is gaining. It's far enough, but it's fast. She stops the horse and jumps off.
ALFREDA
Ride off.
Joseph takes the reigns of the horse
JOSEPH
What about you?
Alfreda slaps the horse's butt and it runs off.
ALFREDA
Find Jaime.
Alfreda takes a knee to steady herself.
She takes an arrow out of the arrow pouch, aims and fires.
The beast uses its back armor to repel the arrow. It slows down slightly as it does.
Alfreda, in quick succession, takes another arrow and shoots again and again. The arrows bounces off its armor.
ALFREDA (cont'd)
Come on. Show your belly.
Alfreda fires another arrow, this time it sinks in Eimar's powerful shoulder, but it doesn't slow him down much.
The beast is now too close for comfort.
Before Alfreda is able to fully get out of the way, the beast rams her.
WITH JOSEPH
Joseph stops the horse and watches Alfreda fly in the air like a rag doll and come to a dead stop when she slams into a tree trunk.
JOSEPH
(yells)
Noo. Eimar. STOP.
Joseph nudges the horse and rides closer to the conflict.
WITH ALFREDA
The beast, now sure that it has incapacitated Alfreda, advances slowly for the kill. It shakes its head trying to get rid of the effect of the poison.
Alfreda, still conscious, starts to back away. She tries to get up but falls on the ground. The beast moves towards her confidently.
WITH JOSEPH
Joseph jumps off the horse and leaves the lamp in the middle of the path. Joseph rushes the horse to the side of the road..
JOSEPH (cont'd)
(to the horse)
Stay here. If I die... Well I don't
really care what you do then.
WITH ALFREDA
Alfreda takes out one of the arrows, but is dismayed when she sees the bow has fallen out of her reach. She uses the arrow to threaten the beast.
The beast slows down. This close up, Alfreda sees Eimar's eyes. Instead of having their familiar glow, they are mostly black. His web of veins are glowing dark purple with patches of orange. Eimar looks at the arrow carefully
ALFREDA
Yeah, you know what that is, don't
you? Don't you?
Alfreda jabs it in the beast's direction.
WITH JOSEPH
Joseph gathers some dry sticks in the middle of the path and throws the lamp in its midst. The lamp breaks and the oil spreads the fires to the dry sticks. The fire grows quickly.
WITH ALFREDA
Alfreda is now up on her feet, maneuvering with Eimar. Her only defense is the poisoned arrow, which appears to make Eimar think twice before attacking her.
The beast looks in the direction of the fire, growing brighter.
Alfreda takes the short opportunity of distraction and charges the beast with the arrow.
The beast is alerted to her advancement, but not before she's able to jab the arrow in its leg.
The beast reacts in pain and head butts Alfreda.
Alfreda flies and lands on the ground face down.
Eimar shakes his head. The poison from the arrow disorients him. He grabs the arrow with his mouth and pulls it out.
That's when Joseph starts yelling.
JOSEPH
Hey. HEY. LOOK HERE. COME ON. COME ON.
Eimar looks at Joseph standing behind the fire.
Joseph picks up a block of wood which is lit with fire, and hurls it at the beast. It hits the beast and falls beside him.
The beast growls at Joseph and steps on the lit wood, easily extinguishing it.
JOSEPH (cont'd)
COME ON, EIMAR. DO YOU STILL REMEMBER
ME?
The beast walks unsteadily towards Joseph.
JOSEPH (cont'd)
I'm your friend.
Joseph holds his sword; ready to defend himself.
Alfreda regains her consciousness and sees the beast head towards Joseph, but she's too weak to do anything, except reach out to Joseph in objection.
JOSEPH (cont'd)
Please Eimar, we're friends. Come on,
let's not do this.
The glow in Eimar's eyes fights to break through the blackness. But his attitude doesn't change. He is still aggressive and approaches Joseph menacingly.
WITH JOSEPH
Joseph starts to back up.
JOSEPH (cont'd)
Eimar don't force me to choose.
Please.
Eimar charges Joseph. Still under the effect of the poison, his strides drag against the ground. Joseph does his best not to budge, holding his sword in a ready to fight posture.
Eimar attempts an awkward leap over the fire.
JOSEPH (cont'd)
(yells a battle cry)
YAAAAH
Joseph dives at Eimar and stabs him in his belly with the sword. The sword sinks all the way to the handle.
Eimar lands on the ground and doesn't move.
Joseph scrambles to his feet and looks at the still Eimar.
JOSEPH (cont'd)
Why? Why did it have to come to this?
The beast has scattered the lit wood as it rammed through the fire. The flames die down.
Joseph looks at Eimar in the flicker of the dying flames. He's not moving. Joseph takes a hesitant step towards him.
Eimar takes quick shallow breaths. The glow in his eyes is more pronounced now. As if his body is fighting off the poison.
ALFREDA (O.S.)
I can't believe you did it.
Joseph snaps towards Alfreda.
Alfreda has two poisoned arrows in her hand. She walks with difficulty.
Joseph looks at Eimar again. He's so helpless.
Alfreda steps towards the beast and prepares to stab it with the other arrows.
Joseph pulls her back.
JOSEPH
What are you doing?
ALFREDA
I'm gonna finish the job. This isn't
going to keep it down for long. Only
way is to cut off its head.
JOSEPH
Look at him. He's done. We can just
leave.
ALFREDA
We agreed Jaime and Mary first. When
this thing recovers and it will, it'll
come after us again and again until it
kills us.
JOSEPH
No. I'm not going to let you kill my
friend. He's as much a victim as we
are.
Alfreda pushes Joseph away.
ALFREDA
Get out of my way.
She continues her approach, but Joseph grabs her and pulls her back.
JOSEPH
Please no.
Alfreda elbows Joseph in the face forcing him to let go of her. But he immediately runs to Eimar.
ALFREDA
What are you doing?
Joseph takes out the sword from its belly. He points the sword at Aflreda.
ALFREDA (cont'd)
Are you turning on me? After I saved
your life?
JOSEPH
Please. Just let him be.
Surprisingly, Eimar's wound closes rapidly. He gets up. Joseph snaps towards him.
JOSEPH (cont'd)
(to Eimar)
Eimar, You see, I helped you. I'm not
your enemy, Eimar. I'm your friend.
Joseph throws the sword away.
The beast gets up disoriented.
ALFREDA
Bloody hell.
Alfreda backs up, holding the arrows in front of her. She is injured and in no shape to fight.
The beast looks from Joseph to her. Eimar is not very steady, but dangerous nonetheless. Joseph stays between Alfreda and the Beast.
JOSEPH
No. Stop. Eimar, this isn't you.
Eimar slows down looking at Joseph. The orange glow in his eyes is brighter. It fights back the darkness. There is a glimmer of recognition, but then it disappears as he looks at Alfreda with the arrows. The beast leaps over Joseph and takes a swipe at Alfreda with his muscular leg. She goes tumbling back.
Joseph runs and leaps, covering Alfreda with his body.
The beast charges Joseph and Alfreda. He raises his foot. If he brings it down he can easily squish both of them to death.
JOSEPH (cont'd)
Please. Please don't do this.
Eimar freezes. The glimmer of recognition returns to his eyes. Their glow is more steady. His leg is in mid air. He looks down at Alfreda and Joseph. After a tense moment, he leaps away and disappears into the forest.
Joseph looks at the limp Alfreda.
JOSEPH (cont'd)
Hey, Hey. Are you okay?
He taps her face gently, but she doesn't respond.
JOSEPH (cont'd)
Come on, stay with me. I don't even
know your name!
Joseph slumps beside her. He buries his face in his hand, tired.
ALFREDA
It's Alfreda.
Joseph turns to her.
JOSEPH
Oh thank God.
Alfreda tries to get up but she's in too much pain.
JOSEPH (cont'd)
Here let me help you.
Alfreda wraps her arm around Joseph's shoulder. He tries to get her up, but she's in too much pain.
ALFREDA
Let me down. Let me down.
Joseph eases her back against a tree.
ALFREDA (cont'd)
My ribs and right leg are definitely
broken.
Joseph moves to her leg and rolls her pants up.
JOSEPH
Oh my.
Her leg Tibia bone, below the knee is broken. And the bone protrudes. It hasn't broken the skin, though.
JOSEPH (cont'd)
I've seen this before. If we don't set
the bone right, it'll be very bad for
you.
ALFREDA
Do you know how to do that?
JOSEPH
I'm no doctor, but I've seen it done
before.
ALFREDA
You've seen it done?
JOSEPH
Do you have any better ideas?
ALFREDA
Yeah, you could've let me kill your
friend.
Silence.
JOSEPH
It's gonna hurt.
Joseph prepares to straighten the bone.
ALFREDA
Wait. Hold on.
Alfreda picks up a wooden branch and bites on it. She nods.
JOSEPH
Ok, on the count of three.
Alfreda nods in agreement and braces herself.
JOSEPH (cont'd)
One.
Joseph tugs sharply on her lower leg. Alfreda screams in agony.
WIDE SHOT OF THE FOREST. ALFREDA'S SCREAMS ECHO.
INT. PRISON CELL - CONTINUOUS
Mary is in a dark damp cell. She's in a disturbed sleep. Jerking around as if trying to avoid something.
EXT. FLASHBACK. TENT VILLAGE - DAY
Mary sees her father getting stabbed.
She sees the medallion with a drawing of an eagle, fangs open for attack.
She chucks it away with a scream.
INT. PRISON CELL - NIGHT
Mary wakes up from her turbulent sleep. The last thing she sees in her dreams are the soldiers marching around her. The sound of their marching merges with her reality, as a guard runs his sword along the iron bars of the cell.
JAIME (O.S.)
Are you ok?
The soldier has left a dry morsel of bread, and a bowl of water by the iron door of the cell. It takes Mary a few moments to recover from her nightmare.
MARY
I'm okay.
Mary takes the bowl of water and walks deeper into the cell, where Jaime is tied with metal shackles.
MARY (cont'd)
Here. Drink this.
JAIME
(exhausted)
That's yours.
MARY
You need it more than I do. Come on
now.
Mary helps Jaime drink the water. Then she breaks the bread in two pieces and gives Jaime the bigger piece. Jaime looks at her and smiles.
JAIME
I'm sorry you got involved in all of
this.
MARY
It was my choice.
(beat)
But my brother is right not to trust
them. We have to take what we can when
we can.
Jaime looks at Mary sympathetically. She reaches over and rests her hand over Mary's. Their Emblems of Unity connect.
JAIME
Don't forget who you are.
MARY
I don't know who that is anymore.
JAIME
Oh, well, that's easy. You're the girl
who rushed to help me, someone she
hardly knows. You're the girl who put
her life on the line to save a half
Eitorian baby when she could've saved
herself. You're the girl who gave me
her water and shared her food, no
matter how little she had. Should I go
on?
Mary rests her head on Jaime's shoulder. And Jaime rests her head on Mary's head.
MARY
I am great, aren't I?
JAIME
And humble too.
Mary and Jaime share a quiet laugh.
A guard passes his sword across the bars of the cell, making a loud rattling noise. Mary and Jaime startle.
Mary looks up and sees three guards open the door to the cell and head towards them.
Two of them unshackle Jaime and pull her to her feet. The third one takes Mary. They drag both of them out of the cell.
MARY
Where are you taking us?
INT. CATACOMBS - CONTINUOUS
Mary struggles against the guard but he's too strong.
They walk through a gate into a larger area. Ahead there is another gate which leads to outside the building. A lot of clutter is stacked up high on the sides of the corridor. It looks like a storage area.
Jaime stumbles her footing. The guards are forced to slowdown to accommodate her.
GUARD
Come on woman.
Mary tries to go to Jaime's assistance, but her guard holds her back.
MARY
Look at her, she's hurt.
GUARD
Move.
MARY
You can't treat us like this. We're
human beings.
Jaime looks at Mary and mouths ...
JAIME
Get ready.
Suddenly Jaime shoves the guard nearest to her into a stack of boxes. The boxes come tumbling down. The guards are forced to cover their head. Mary is suddenly free.
JAIME (cont'd)
Mary, Go. Find my baby. Go.
Mary doesn't hesitate. She bolts away. The guard responsible for her turns to the other two and points at Jaime...
GUARD
Stay with her.
The guard heads after Mary.
INT. CATACOMBS - CONTINUOUS
Mary runs aimlessly through a series of catacomb tunnels which look the same. She gets to an intersection, hesitates there for a moment and then turns left. She runs into a dead end.
She heads back, only to find the guard blocking her way.
GUARD
Sir Marcus didn't say he needs you
alive.
The guard takes out his sword and advances. Mary looks around, but there is no where to go.
A wooden beam slams into the man's head and he goes down like a sack of potatoes. Hadrian drops the wooden club beside the man.
HADRIAN
Let's go.
Mary hesitates.
HADRIAN (cont'd)
Please. I'll get you out of here.
He extends his hand to Mary. She looks at the scar on the back of it. After a moment's hesitation she takes his hand and they head off. For a moment we see the symmetry between her "Emblem of Unity" and Hadrian's scar.
THIS SHOT TRANSITIONS OUT OF THE CASTLE AND WE FLY THROUGH THE TOWN. WE GO TO THE FOREST WHERE...
EXT. ALFREDA'S HOUSE - DAY
Joseph climbs up from a stream of water with a curved piece of wood, which looks like a bowl. It's full of water. He walks to Alfreda who's trying to make herself more comfortable. Her broken leg is splintered with a couple of sturdy branches. Alfreda sees Joseph arriving.
ALFREDA
Don't think this is gonna settle the
score between us.
JOSEPH
I'm sorry you feel that way.
ALFREDA
Oh, you're sorry I feel that way. What
an apology.
Joseph hands her the water. Alfreda drinks a sip. Swallowing is hard for her.
ALFREDA (cont'd)
Get my bag.
Joseph passes her the bag. She opens it and takes out a map. It shows the lay of the land. Joseph's town, the forest, the river running through the forest all the way to another town across the forest. The river goes into the ocean. In that town, there are two main marks, representing two castles.
ALFREDA (cont'd)
If you follow the river, it'll lead
you to Westerden.
(points at the town
with the red marks)
Our best chance to rescue Jaime and
Mary is to get to Sir Patrick.
At the mention of Patrick's name, Joseph starts to shake his head, rejecting the idea.
ALFREDA (cont'd)
He'll be more than willing to help you
once he knows what's in it for him.
But it's not ...
JOSEPH
No.
ALFREDA
It's not going to be easy getting an
audience with him. If I were with you,
it would've been a different matter,
but I can't ...
JOSEPH
I already rejected this idea. I'm not
going to put my sister's life...
ALFREDA
(yells)
Bloody hell, Joseph. Stop thinking
like a child...
Alfreda holds her injured side and coughs.
ALFREDA (cont'd)
Life is not black and white, good and
evil. There is a lot of gray area. You
might not like Patrick, but there is
something common between you two. You
both lost someone you love.
(holds his arm)
I need to know you'll do what's
necessary to rescue Jaime. You owe me
that much.
Joseph meets Alfreda's intense gaze. He finally looks away.
                    JOSEPH
       Grrr. I still think this is a bad idea.
The bushes beside them move.
JOSEPH
What now?
Joseph picks up Alfreda's sword. It's a unique looking sword. The handle is gold plated and the tip of the handle is carved into a lion's head, Sir Patrick's symbol. Just then, two ugly wolves pounce out. They show their fangs and growl. These are the same wolves which attacked Joseph earlier on.
Joseph takes up a defensive position in front of Alfreda.
JOSEPH (cont'd)
Bloody hell. You again!
ALFREDA
Leave. They won't go after you.
JOSEPH
If you're insinuating I let them eat
you so I can escape. It's gonna
happen.
Alfreda pushes herself with difficulty towards the poisoned arrows a few feet away. The wolves circle around them, watching them carefully. The attack comes swift and harsh.
The wolf on the right attacks Joseph first. Joseph has to dive and roll away to avoid the attack. This opens a vector of attack for the second wolf against Alfreda. Alfreda, knowing her life is on the line uses all her strength to push herself the rest of the way to the arrows. She grabs them and flips on her back. The wolf leaps on Alfreda, but Alfreda stabs it with the poisoned arrow. The effect of the poison is immediate. The wolf slumps dead on Alfreda. The weight of the wolf presses down on her chest, causing her a lot of pain. She screams.
Joseph backs up as the wolf keeps advancing. Joseph swings his sword at the wolf to keep him away. He moves into an area with lots of trees. The sound of the rushing water grows louder.
Joseph moves around the trees trying to make it difficult for the wolf to attack. But it does anyway. Joseph swings his sword at it, but his hand hits its head and the sword gets knocked out. The wolf topples him over and tries to bite at his neck. Joseph holds the wolf's face, preventing its teeth from tearing at his flesh.
Joseph rolls to the side, forces his knee under the wolf's belly and pushes it away.
There is a loud roar. Both Joseph and the wolf snap towards the noise. It's Eimar.
WITH ALFREDA
Alfreda pushes the wolf off of her with a grunt of pain.
She looks and sees the wolf and the beast close in on Joseph.
ALFREDA
No.
Alfreda grabs the other sword and forces herself up, using the sword as a crutch. She grunts in pain and with the first step she loses her footing and falls down. She crawls towards Joseph, despite the pain.
WITH JOSEPH
The wolf is apprehensive, looking between Eimar and Joseph. Joseph picks up the sword. He's right on the edge of a cliff with a sharp drop into the raging river. Joseph glances between the river and the wolf and Eimar. He puts the sword in its sheath. Then things go off the rails.
Eimar charges in Joseph's direction, but the wolf is slightly quicker. It leaps at Joseph at the exact same moment Joseph decides to jump off the cliff. They both fall ten feet down into the rushing water.
WITH ALFREDA
Alfreda looks on in horror as Joseph disappears. Eimar comes to a halt as he looks at where Joseph and the wolf fell. He turns and looks at Alfreda as he takes a few steps in her direction. She holds the sword up in unsteady hands. But then Eimar turns away from her and sprints away at an incredible speed.
EXT. RAPID RIVER - DAY
Joseph struggles to stay afloat in the raging water. The wolf is not fairing much better. It tries to swim to the shore, but the force of the river is pushing it forward. It approaches a fallen tree stretching over the river. Its sharp branches, like spears, stick out. Before the wolf knows it the force of the water slams it against the tree and it gets impaled through with one of the branches.
Joseph looks on in horror as he passes the impaled wolf. He tries to get to the shore before he meets a similar fate.
From the periphery of his vision he sees Eimar running on the elevated banks of the river, tracking him.
Joseph struggles to stay afloat in the whitewater. It's very dangerous. He approaches a thick tree trunks leaning across the river, which branches extend under water.
Joseph tries his best to not end up like the wolf, but there isn't much he can do. He dives down below it, but gets tangled and stuck in the thick branches. The more he struggles, the more his situation gets worse.
As the seconds tick by, he loses air and starts to drown. Soon his strength falters and his struggles die off.
Suddenly, the entire log is lifted off the water, and him, tangled in its branches along with it.
Joseph lands beside the log on dry land. He spits out water and rolls on his tummy, then gets up on all fours. He coughs and looks up. Eimar stands in front of him.
Joseph scurries back.
JOSEPH
Eimar!
Eimar moves slowly towards Joseph.
JOSEPH (cont'd)
Eimar. It's me, man. Snap out of it.
Eimar then does something, Joseph isn't expecting. He nudges him gently with his massive head. Eimar's eyes are back to normal now. His veins pulsate regularly in their normal orange color. Joseph exhales in relief.
JOSEPH (cont'd)
Thank God. You're you again.
Joseph hugs Eimar.
Eimar produces a sequence of whistles. He gestures at the arrows still stuck in his back. He can't reach them.
JOSEPH (cont'd)
Let me get these out for you.
Eimar crouches and Joseph proceeds to pull the arrows out. Remarkably, Eimar's wounds heal in front of Joseph's eyes.
Joseph finishes and throws the last arrow into the river. Eimar gets up and stretches his muscles. He produces a sequence of whistles thanking Joseph.
JOSEPH (cont'd)
Eimar, you've got to help me find
Mary.
Joseph reaches into his garments and takes out Mary's scarf. He extends it to Eimar.
JOSEPH (cont'd)
Can you find her? Please.
Eimar sniffs the scarf, then sniffs the air. He crouches down. Joseph climbs on his back and Eimar sprints away.
INT. WINE CELLAR - DAY
Mary and Hadrian hide in a darkened wine cellar. A slit in the door lets a stream of yellowish, flickering light in. Hadrian and Mary sneak a look outside at the guards, going back and forth, through the tunnel.
Hadrian gestures for Mary to stay quiet and follow him. They head deeper into the wine cellar and sit behind a bunch of wine crates.
HADRIAN
I know who I am.
Mary looks at him surprised.
MARY
What?
HADRIAN
You asked if I knew who I am. I do.
I'm an Eitorian; a descendant of the
House of Marcus.
MARY
Then where did you get this scar?
HADRIAN
I am an Eitorian. I was raised on the
great traditions of our people; of my
people.
MARY
You said that already. Seems like you
don't believe it yourself.
Hadrian stumbles with his words and then falls silent.
MARY (cont'd)
Look, what you did for me proves who
you really are? You're willing to do
the right thing even if it's not
convenient for you.
(beat)
We have to get Jaime and her baby back
to Patrick.
HADRIAN
No! You don't understand. Sir Patrick
can't be allowed to continue his rule.
MARY
Because he married a Stronglandian?
HADRIAN
If it was only that, then it might've
been overlooked, but he wants to
ordain his son, a half breed, a Count
of one of our thirteen Realms. It's
blasphemy.
MARY
Is that you talking or your father?
HADRIAN
Our purity is what unites us. If
Eitorian Tradition is broken our
Realms will splinter. A nation divided
on itself can not stand.
MARY
I can't believe how blind you are.
Don't you see?
Mary takes Hadrian's hand and puts hers beside his. Her Emblem of Unity and his scar look like a continuation of each other; Mary's is clear while Hadrian's is burned out.
MARY (cont'd)
You are a half breed. This is our
Emblem of Unity. Your mother must've
been a Stronglandian.
Hadrian pulls his hand away.
HADRIAN
It's just a scar.
MARY
You're a Stronglandian.
Hadrian stands up.
HADRIAN
No. NO. It's a scar. I am Eitorian.
Eitorian.
MARY
Then give me up to one of your
soldiers. Go ahead. I'm only a slave
after all.
Hadrian looks at Mary intensely.
EXT. EDGE OF FOREST - EVENING
The sun has almost set when Joseph arrives at the edge of the forest. He's on top of a hill. Down below is a large town, quite different from his own town. The architecture is more industrialized. Although the buildings are newer and are maintained better, it lacks the beauty of nature. The entire landscape has been rid of trees and greenery. It's a strictly merchant city.
There aren't many people in the streets at this time of day.
There is a main road which branches into two. One leads to a large castle and the other leads to a smaller one.
Both castles are built by a cliff facing the ocean. The cliff runs as far as Joseph can see.
Eimar sniffs the air. He looks around indecisively.
JOSEPH
Lost the scent, eh?
Joseph dismounts the beast and checks that Alfreda's sword is secure around his waist.
JOSEPH (cont'd)
Might as well. It'll be safest for you
to stay hidden, okay?
Joseph looks towards the largest castle.
JOSEPH (cont'd)
For the record I think going to Sir
Patrick is a bad idea.
Eimar produces a sequence of whistles.
JOSEPH (cont'd)
I wouldn't talk, if I were you. If you
weren't acting all crazy, Alfreda
would've been with me right now.
Eimar whistles.
JOSEPH (cont'd)
I know it wasn't your fault. God, I
hope she's okay.
(looks at the castle)
Get in, get out, no problem.
Joseph zones out for a moment, but then shakes it off. He touches the beast's face. The beast leans his head into Joseph's hand. Joseph then looks at the larger castle, which is nearest to his location.
JOSEPH (cont'd)
Wish me luck.
Joseph walks down the hill, leaving EIMAR at the tree line.
EXT. CASTLE - NIGHT
Night has fallen. The only light is from torches placed at regular intervals along the road leading to a long bridge, which crosses a man made water channel dug in a semi-cricle around the front of the castle. The bridge is a good eight feet above the water level, to match the height to the main entrance to the castle.
The back-end of the castle is built on a cliff over looking the ocean. This provides natural protection.
Joseph hides behind a boulder and watches the castle guards do their rounds. He counts eight soldiers, divided into two companies. One company guards the entrance to the bridge and the other circles the perimeter.
Joseph waits until the second company patrolling the perimeter are far away from his location, then he bolts towards the water channel.
He descends a small cliff and flattens himself against the wall of it. He makes his way to the underbelly of the bridge.
The soldiers guarding the entrance to the bridge are right above him, now. As quietly as he can he jumps and grabs a hold of a wooden beam which runs the length of the bridge's underside. He swings his legs up and secures a foot hold on it.
One of the guards hears Jospeh's attempt and looks in the general direction of the noise. Joseph pulls himself up until he's almost flat with the bridge and waits. The soldier doesn't notice Joseph and shakes his head turning away.
Joseph sneaks a look and once he's sure the guards are not looking in his direction he continues on his way. But then, his foots slips as a rotten piece of wood breaks under his weight. The noise is painfully obvious in the silence of the night.
All four soldiers guarding the entrance to the bridge are alerted to his presence. They look around for the source of the noise.
GUARD 1
Look there.
The guard points at Joseph. The other four look at him.
GUARD 1 (cont'd)
You. Halt.
Joseph scrambles into position again and tries to speed away.
GUARD 1 (cont'd)
Arm yourselves.
The guards arm themselves with bows and arrows.
An arrow whizzes by Joseph. He looks at the guards and sees them positioning themselves to get a better shot. They get ready to shoot another volley of arrows.
Suddenly, they are launched off their feet and fly like rag- dolls. One of them hits the side of the bridge and lands in the water followed shortly by his comrades.
It takes Joseph a moment to realize it was Eimar who came to his rescue.
Joseph scrambles back to the cliff he started from. Eimar joins him down over the cliff.
JOSEPH
Eimar, boy, am I glad you didn't
listen to me.
GUARD (O.S.)
What's happening over there?
Joseph sneaks a peak and sees the other four guards running in their direction. Eimar leaps up and roars at them. They come to halt.
GUARD
Beast. Send a signal to the wall. Now!
They back away from Eimar.
Eimar jumps down the cliff and crouches beside Joseph. Joseph jumps on Eimar's back. Once he's securely on, Eimar leaps on the bridge and sprints to the gates.
One of the patrolling guards takes out a little bottle from his pocket and pours its contents on the torch he holds. The fire grows blue and flares ups.
EXT. CASTLE WALL - CONTINUOUS
A guard manning the wall sees the blue flame.
GUARD 1
Intruder. INTRUDER.
Guards congregate at the wall and see Eimar with Joseph on his back run across the bridge. They prepare to shoot.
EXT. CASTLE BRIDGE - CONTINUOUS
Joseph looks at the wall.
JOSEPH
Eimar... Wall...
Eimar looks up and sees the guards prepare to shoot. By that time Eimar is more than halfway to the gate. He changes direction and jumps off the bridge and into the water. Joseph holds on for dear life as they dive below the surface. Arrows zoom beside them, but they lose much of their speed due to the water density.
Eimar swims all the way to land and leaps on the wall of the castle. Joseph holds on to Eimar's back armor, as Eimar scales the wall easily and disappears around the corner of the castle.
EXT. CASTLE WALL - CONTINUOUS
The guards watch Eimar disappear around the corner.
GUARD 1
We have to get to Sir Patrick.
GUARD 1 and two of his compatriots climb down a ladder to the castle square..
EXT. CASTLE SQUARE - CONTINUOUS
The guards sprint across the square to the main gate.
EXT. CASTLE WALL - CONTINUOUS
Joseph is on Eimar's back. They are hiding in the darkness of the night, beside a window. Joseph sneaks a peak inside and sees Patrick in a grand study mulling over a book, not too far from the window.
Joseph taps Eimar's back and points at the window. Eimar produces a sequence of whistles. He then uses his tale to smash the window. Joseph jumps in.
INT. CASTLE HALL - CONTINUOUS
The guards run to the top floor and reach a grand door. They try to open it, but it's locked from the inside. Guard 1 knocks on the door.
GUARD 1
Sir Patrick. Sir Patrick.
But no one answers. The guards exchange unsure looks. After a moment of hesitation they ram the door several times until they force it open. Then ...
INT. GRAND STUDY - CONTINUOUS
The guards burst in and freeze. Joseph is behind Sir Patrick with his back to the broken window. His sword is on Sir Patrick's neck, keeping Sir Patrick between him and the guards.
JOSEPH
If you want your master to keep his
head, I'd suggest you backup slowly.
The guards look at their master unsure what to do.
SIR PATRICK
What do you want?
JOSEPH
Tell your guards to leave. And then we
can talk.
Joseph tightens the blade on Patrick's neck.
SIR PATRICK
Leave.
GUARD 1
But sir!
SIR PATRICK
Get out and close the door.
The guards hesitate.
SIR PATRICK (cont'd)
Do it.
The guards backup and close the door reluctantly.
SIR PATRICK (cont'd)
I'm impressed.
Joseph lets Patrick go, but keeps the tip of his sword on Patrick's neck.
SIR PATRICK (cont'd)
You're either very stupid or very
brave to break in here. Do you know
who I am?
Joseph looks around.
JOSEPH
I'm well aware?
SIR PATRICK
I can guarantee you will not leave
this castle alive. Threatening the
life of the Count of the Westerden
Realm is punishable by death.
Joseph advances on him.
JOSEPH
You're in no position to make threats.
Patrick doesn't budge. He smiles.
SIR PATRICK
You think you'll be a hero when you
kill me?
JOSEPH
Look at you. So powerful. So
confident. Yet you can't even protect
your own family.
That riles Sir Patrick up. He takes a step forward, not caring about the sword at his neck. It pricks his skin and a stream of blood drips down on his shirt.
SIR PATRICK
I swear to God, if you hurt them, I'll
rip your throat out.
JOSEPH
I'd like to see you try. Go ahead. GO
AHEAD. Do it. You'll never see your
family again.
Patrick's emotions are all over the place.
SIR PATRICK
Please, if you know where my wife and
son are, tell me. Please.
Joseph looks at Patrick, begging, pleading. He steps back, but keeps his sword ready. That's when Sir Patrick finally notices the handle of the sword Joseph holds.
SIR PATRICK (cont'd)
That's Alfreda's sword. You could have
never bested her.
JOSEPH
I'm here at Alfreda's insistence. I
trust her. Do you?
Patrick watches Joseph lower the sword.
JOSEPH (cont'd)
Marcus took my sister. And your
family. Alfreda is convinced we can
help each other.
Sir Patrick's face darkens
SIR PATRICK
Marcus. If you're lying...
JOSEPH
Why would I risk my life? You said it
yourself, I'm either stupid or brave
for coming here.
Patrick examines Joseph who stands there, sword lowered.
SIR PATRICK
The traitor. We need to move quickly.
Patrick takes a rolled up map from his library and unrolls it on his desk.
SIR PATRICK (cont'd)
I should've over thrown Marcus' house
the first time he publicly opposed my
marriage to Jaime. But I wanted to
maintain the peace in my realm.
Patrick studies the blueprint.
JOSEPH
Whoa, hold on. You're not planning to
storm the castle are you?
SIR PATRICK
That's exactly what I'll do.
JOSEPH
Well that's a horrible plan. Do you
think Marcus will just hand over your
family?
SIR PATRICK
What do you propose?
JOSEPH
I can get in. Make sure they are safe.
Then you can storm the castle.
SIR PATRICK
You want me to trust you with my
family?
JOSEPH
I don't like this any more than you
do. But right now we have one thing in
common. Marcus holds the people we
love most. Beside, I broke into your
castle.
Sir Patrick thinks on it, then points at the blueprint.
SIR PATRICK
This is Marcus' palace. He is always
cautious.
EXT. EDGE OF FOREST - NIGHT
Joseph rides Eimar furiously.
Joseph wears a similar suit to what Sir Patrick wears.
They travel in the edge of darkness, where no one can see them.
SIR PATRICK (V.O.)
He has guards posted all hours of the
day, patrolling the border of the
palace. They are likely to arrest or
even kill any stranger who approaches
unannounced.
Joseph and Eimar stop. Marcus' palace is now in clear view.
Joseph watches the area while remaining out of sight. Guards patrol the perimeter.
INT. SIR PATRICK'S STUDY - NIGHT
Sir Patrick gives Joseph a letter with a distinguished seal on it.
SIR PATRICK
This seal will let you get past the
guards. It is carried by people on
official missions from me. So no one
will question your presence.
(beat)
If I know anything about Marcus, it's
that he's unpredictable. Be careful
Sir Patrick takes a hold of Joseph's shoulders.
SIR PATRICK (cont'd)
I'm putting my family's life in your
hands.
EXT. EDGE OF FOREST - NIGHT
Joseph checks his sword and looks at Eimar.
JOSEPH
Alright, Eimar. Let's hope Patrick is
going to hold up his end of the
bargain. Keep an eye out.
Joseph starts his hike towards the palace.
BREAK FOUR
INT. WINE CELLAR - NIGHT
Hadrian looks through the slit in the door and the tunnel seems empty. He gestures for Mary to follow him. They exit to ...
INT. TUNNEL - CONTINUOUS
Mary and Hadrian climb up a set of stairs until they reach a door. Hadrian pushes it open. The small hall is lit with fancy looking gas lamps, hung on the walls. A chandelier, filled with gas lit flames, dangles from the ceiling in the middle of the hall.
Hadrian goes through first. He checks and makes sure no one is watching and then signals for Mary to follow.
Mary walks through the door to a ...
INT. SMALL HALL - CONTINUOUS
Eitorian paintings, shields, swords, spears hang on the wall for decoration. It gives off a sense of military might. There is a fancy semi-circle table, surrounding a stage which is a few steps lower than the table. It looks like a meeting room of some sort.
A couple of palace employees exit another side door.
HADRIAN
Act normal.
Hadrian walks beside Mary, blocking her from the view of the employees. They look at Hadrian and give him a slight bow.
The employees exit the hall leaving Hadrian and Mary alone.
HADRIAN (cont'd)
This way.
MARY
Where are we going?
HADRIAN
Out of here.
Mary stops dead in her tracks.
MARY
The baby. I'm not leaving without him.
HADRIAN
I... I can't. I can't betray my
father.
MARY
You've already betrayed him by helping
me.
HADRIAN
No. No. This is different. He's not
going to care about you.
MARY
We can't let him kill an innocent
child and his mother.
Another group of servants enter the hall. They chat amongst each other. Hadrian takes Mary by the arm into a nook in the wall.
HADRIAN
(whispers)
Kill them? He's not going to kill
them. Not now anyway.
MARY
Why go through all the trouble? Why
make an enemy of Sir Patrick?
Hadrian hesitates.
MARY (cont'd)
You don't have to be your father's
son. You know right from wrong. You're
free to choose.
Hadrian thinks on it.
HADRIAN
All I know is that my father invited
all the Counts of the thirteen
Eitorian Realms. They will be here
tomorrow morning.
MARY
He's planning to blackmail Sir
Patrick?
HADRIAN
No. You don't understand. My father
can't unseat Sir Patrick except by a
clear admission of guilt.
MARY
But that means once he gets what he
wants he can get rid of them all. You
can't stand by and let this happen.
HADRIAN
There is nothing we can do. Even if we
get the baby, he'll ...
Mary holds Hadrian's hand. Their emblems of unity connect.
MARY
It's a step in the right direction.
Hadrian hesitates for a moment and then gestures for her to follow him.
They head down a narrower corridor, which branches off the main hall. From there they go up a set of stairs into a ...
INT. CORRIDOR - CONTINUOUS
Mary and Hadrian walk through the corridor. There are doors which line up both sides of it.
They hear footsteps closing in.
Hadrian pulls Mary into a doorway. They watch as a guard walks past them.
Once they are sure he's far enough, they exit their hiding spot and they go to one of the doors. They open it and enter a ...
INT. ROOM - CONTINUOUS
The baby is in a crib.
Mary approaches him.
MARY
It's okay, buddy. We're gonna get you
outta here.
Once the baby sees her he stands up in his crib and jumps up and down excitedly.
MARY (cont'd)
I'm happy to see you too. Let's go
okay.
Mary picks the baby up from the crib.
HADRIAN
We have to hurry.
Mary follows Hadrian with the baby.
MARY
(to the baby)
We gotta stay quiet, okay, buddy?
They exit back to the corridor.
INT. CORRIDOR - CONTINUOUS
They head back towards the stairs, but two guards one of which is the guard Hadrian whacked on the head, step right into their path. Both parties are taken by surprise.
The guard who Hadrian hit looks at his partner
HADRIAN
Run.
They run down the opposite end.
The guards look at each, hesitant for a moment, then they head after Hadrian and Mary.
Hadrian and Mary have a good head start. Mary holds the baby tight, who seems to enjoy the run.
Mary turns and goes through a doorway.
HADRIAN (cont'd)
No, wait.
But it's too late. Mary is already through and ahead of Hadrian. He follows her in.
INT. STAIRWELL - CONTINUOUS
Mary runs up the stairway. Hadrian closes the door and slides a wooden tongue to lock it. He scrambles up the stairs trying to catch up with Mary. A moment later the guards start ramming the door.
Hadrian exits the stairwell into a ...
INT. STORAGE ROOM - CONTINUOUS
Mary looks around at the dead end. It's a storage room filled with different items. It has one window.
Mary looks through the window at a six story drop.
MARY
We're stuck!
HADRIAN
I told you to wait.
Mary looks around for another exit, that's when she notices, paintings leaning against the wall and different items, like plates and shields. All of them have drawings of an eagle. It's fangs are open, as if going in for the attack.
EXT. FLASHBACK. TENT VILLAGE - DAY
Mary is with her dead father. She looks at the medallion with a drawing of an eagle, fangs open for attack. She snatches it and chucks it away with a scream.
INT. STORAGE ROOM - DAY
Mary reacts in horror and backs away from the drawings which now seem like they surround her, closing in on her.
MARY
What are these?
Hadrian steps away from the boxes he was scavenging.
They can still hear the soldiers ram the door.
HADRIAN
What?
MARY
These. Why are these here?
Hadrian looks at the paintings and other items Mary points at, confused.
HADRIAN
Umm. I don't know. This palace used to
belong to Sir Patrick's father before
it was transferred to us. Must be his
stuff. Yeah, that eagle is his sign.
Mary looks at Patrick's son. A dark expression rolls over her face. The baby reaches and touches her face innocently.
INT. STAIRWELL - CONTINUOUS
The wooden tongue keeping the door locked shatters and the guards storm in. Up the stairs they go.
INT. STORAGE ROOM
The guards rush in. The first thing they notice is the open window. They scramble to it and see a rope dangling all the way to the balcony in the third floor.
GUARD
Blast. Let's go.
They hustle out of the storage room.
A moment later Hadrian sticks his head out of an empty container. When he's sure the guards are gone, he climbs out and opens another container. He helps Mary out.
Hadrian walks towards the exit.
HADRIAN
We better hurry.
They both exit to the ...
INT. STAIRWELL - CONTINUOUS
Hadrian stops by the door at the bottom of the stairs and checks to make sure no one is out in the corridor.
MARY
I changed my mind. I don't want to
have anything to do with Patrick's
son. Here.
Mary hands the baby to Hadrian. Hadrian takes him dumbfounded. The baby cries. Mary turns her face away from him. A moment of awkward silence passes. Hadrian is at a loss for words, trying to calm the baby.
MARY (cont'd)
Get me out of this place.
The baby continues to cry, reaching for Mary.
HADRIAN
He's going to get us caught. You gotta
keep him quiet.
Mary has a cold expression on her face.
HADRIAN (cont'd)
Do you want to get out of here or
what?
Mary finally makes her decision. She takes the baby. And immediately he quiets down.
HADRIAN (cont'd)
Follow me.
EXT. MARCUS' CASTLE - TWILIGHT
Joseph wears a hood over his face and gloves to hide his features. The darkness which precedes the dawn assists Joseph's mission. He flashes the sealed letter at the guard standing at the gate of the palace.
GUARD
Early for a delivery!
Joseph keeps his cool.
JOSEPH
(shrugs)
Sir Patrick's orders.
The guard steps aside and Joseph walks through the gate. There are other guards in the castle square, but they don't pay much attention to him.
Joseph heads to a set of grand stairs leading up to a large double door. While he's at the bottom of the stairs the grand doors open and Dudley walks out. He has a slight limp. Joseph and Dudley cross paths as they walk past each other.
Joseph tries to behave as naturally as possible. At first Dudley doesn't pay much attention to him, but then he notices his sword, adorned with Patrick's symbol. Dudley spins Joseph around to get a better look at him.
DUDLEY (O.S.)
You!
Joseph kicks Dudley in the chest, knocking him down the stairs and takes off.
Dudley gets up and gives chase.
DUDLEY
Stop.
Joseph pushes the castle door open and enters into ...
INT. MARCUS' CASTLE, STONE CORRIDOR - CONTINUOUS
Joseph runs through a long stone corridor. It opens to a big hall. At this time of day, there is hardly anyone awake.
He looks behind him and sees Dudley almost on him, sword ready to deliver a deadly blow.
DUDLEY
You won't get too far, slave.
Joseph takes out his sword and spins around blocking a sword hit.
Joseph and Dudley have an intense sword battle. Joseph uses all his prowess to fight a formidable and skillful opponent. Dudley almost has the better of him, but Joseph kicks him in his injured leg. Dudley backs up in pain, but he's a resilient man.
Joseph grabs one of the shields hung on the wall and uses it to defend himself. Dudley recovery quickly and delivers a hammering with his sword. With the first blow, Joseph's shield shatters.
Joseph jumps backward to avoid another swing. He grabs another shield off the wall, but that one is also destroyed with the first of Dudley's hits. Joseph is thrown backward with the blow
JOSEPH
Bloody Hell.
DUDLEY
Idiot. These are ornamental.
Dudley attacks again, but Joseph defends himself with the sword and his gauntlet.
INT. LARGE HALL - CONTINUOUS
The fight makes its way into the large hall.
There are statues and plants lined up against the wall.
Joseph pushes those in front of Dudley to slow him down. But Dudley adapts his strategy.
Joseph dives to the side avoiding another swing. Dudley's sword hits the ground and sparks fly. Joseph grabs a chair and protects himself as he slides on his back away from Dudley, who continues to deliver hard hits. The chair is getting battered.
INT. ANOTHER STONE CORRIDOR - CONTINUOUS
Mary and Hadrian run through a wider stone corridor towards a large door. They open it slightly and look through. They see the fight taking place between Joseph and Dudley.
MARY
Joseph.
Hadrian gestures for Mary to follow him away. But she stays put.
Dudley reaches for the chair and rips it from Joseph's hand. Joseph has such a strong grip on it and Dudley is so strong that he ends up lifting up Joseph and throwing him clear against the wall. Joseph hits the door and slams it shut on Mary and Hadrian. He lands hard on the ground.
INT. LARGE HALL - CONTINUOUS
Dudley smiles in triumph as he walks towards Joseph.
DUDLEY
End of the road, slave.
Dudley lifts up his sword intending to deliver a final decisive blow.
INT. STONE CORRIDOR - CONTINUOUS
Mary charges the door open as forcefully as possible.
INT. LARGE HALL - CONTINUOUS
The door hits Dudley just as he is about to stab Joseph. He stammers backwards.
Hadrian and Mary run through.
Joseph scrambles to his feet and grabs his sword. He looks up and sees more palace residents walk into the great hall, watching the events unfold.
Suddenly Joseph hears a scream from behind him.
He snaps back and sees Marcus with one of his guards. The guard holds Mary hostage with his sword on her neck. She still has the baby. The baby cries.
MARCUS
I think it'll be best for everyone if
you hand me the baby. Come on, girl.
Marcus forces the crying baby out of Mary's hand.
MARY
You're despicable.
Marcus shoves Mary away and she falls on her back. Joseph rushes to her and helps her to her feet.
MARY (cont'd)
You're all despicable monsters.
(points to Marcus and
Dudley)
You, him, Patrick. All of you.
(turns to the rest of
the soliders)
And all of you are fools. Did your
master ever tell you that he fathered
Hadrian from a Stronglandian woman.
Did you know that? Or you just follow
him like sheep.
The guards surrounding Marcus look from Mary to Marcus.
MARY (cont'd)
Oh yes. Your noble monster betrayed
the Eitorian traditions, you hold so
dear.
MARCUS
(angry)
Kill them.
The guards don't obey the orders.
JOSEPH
It's over. Patrick knows about what
you've done and he's on his way.
Marcus grabs Dudley from his armor.
MARCUS
Get your men in order.
DUDLEY
Men, we obey the House of Marcus.
One of the guards, the same guy who had arrested Zakary, looks at his comrades.
GUARD
Not for treason against the Eitorian
people
Dudley stabs the objecting guard through. The man falls to the ground, dead.
DUDLEY
Any one else?
The rest of the guards fall inline. They advance towards Mary and Joseph who back up towards a balcony. Hadrian gets in the guards' way.
HADRIAN
Just let them go. They aren't
important.
MARCUS
I should've known a son of a slave
will amount to nothing.
Dudley pushes Hadrian out of the way. Joseph throws his sword at Dudley, but he deflects it with his.
Along with the delay Hadrian caused, Joseph and Mary have enough time to back up to the balcony. The rope which Hadrian and Mary had thrown earlier to trick the guards dangles a meter away.
Joseph and Mary climb on the thick railing of the balcony.
JOSEPH
Jump.
Mary and Joseph jump as Dudley catches up and swings his sword at them, but misses.
Joseph grabs onto the rope. Mary slips, but Joseph catches her before she falls. She secures her hold on the rope as well.
The momentum of the jump swings the rope like a pendulum.
Joseph looks and there is an adjacent balcony one level below. He rocks himself more trying to get them there. They get close to Dudley again on the swing back. Dudley swings his sword, but Joseph protects himself with his gauntlet.
Their momentum carries them to the other balcony.
JOSEPH (cont'd)
Let go.
Joseph and Mary let go and they land painfully on the balcony.
Dudley looks at them in anger.
DUDLEY
(to his guards)
Follow me.
He steps inside the castle.
MARY
We have to go.
JOSEPH
Not just yet.
Joseph takes a torch off the wall and a small glass bottle from his pocket.
MARY
What are you doing? Let's go.
He uses his teeth to pull the plug and pours the contents of the bottle on the fire. It glows bright blue.
EXT. OUTSIDE MARCUS' PALACE WALL - NIGHT
Sir Patrick stands with his guards, watching the castle from far away. He sees the bright blue flame rise.
SIR PATRICK
That's our signal. Move.
Him and a few guards start riding towards the castle.
EXT. MARCUS' PALACE BALCONY - NIGHT
The flame continues to burn blue for a moment, before the fire returns to normal.
JOSEPH
Let's go.
Joseph tosses the torch to the side and they run down a set of stairs from the balcony to the palace square.
EXT. MARCUS' PALACE SQUARE - CONTINUOUS
Mary and Joseph run through the square towards the gates. To their terror guards close the palace door.
Suddenly Sir Patrick rides in and shoots one of the guards closing the door with an arrow. The rest of Marcus' guards back up. A short moment after, a stream of ten of Patrick's guards file through the gate.
A sword battle erupts between Patrick's men and Marcus' men.
The battle poses a serious danger to Mary and Joseph. Swords clang; bodies fly around; horses riding. Joseph almost get trampled by one, if it weren't for his sister who pulls him away.
MARY
This way.
Mary pulls her brother through a doorway into the underground of the castle. In there, they remain hidden, watching the battle unfold.
Soon, it's clear that Patrick has the upper hand. But then things always turn on a dime.
Marcus appears on the castle wall with Dudley and a few of his guards. They hold Jaime and the baby at sword point.
MARCUS
(calls from the wall)
PATRICK. PATRICK.
Patrick looks up and sees the perilous situation his family is in.
MARCUS (cont'd)
Tell your men to stand down if you
want to keep your family alive.
(beat)
Do it NOW.
Patrick shifts with his horse looking up at Marcus defiantly.
Marcus grabs Jaime by the arm and pulls her close to him. He produces a dagger and puts it on her neck.
MARCUS (cont'd)
No. Wait.
(to his men)
Men, stand down. Stand down.
The men stand down.
WITH JOSEPH AND MARY
Joseph and Mary watch the events unfold. Joseph is dumbfounded at how quickly the tables turned.
MARCUS (cont'd)
Good. Wise decision. Now lay down your
weapons.
Patrick's men obey the orders.
MARCUS (cont'd)
Bring Patrick to me. The rest put in
the dungeon.
More of Marcus' men stream out of the castle. They surround Patrick's men and arrest them.
Marcus' men drag their prisoners towards where Mary and Joseph are hiding.
MARY
This way. Come with me.
Mary and Joseph head deeper into...
INT. TUNNEL - TWILIGHT
Joseph follows Mary through a maze of tunnels. They pass the prison cell which Mary and Jaime were held in. The sound of soldiers are following close behind them.
They make a few turns until they end up at the wine cellar which Hadrian and Mary had hid in earlier. They enter and close the door.
Soldiers patrol the underground tunnels. Mary and Joseph back up deeper into the wine cellar.
Mary hugs Joseph.
JOSEPH
It's okay. You're alright now.
Mary wipes away her tears.
MARY
No we're not. Not until we're out of
this hell hole.
JOSEPH
I need to see this through
MARY
What? We're not going to help the man
who killed our father.
JOSEPH
What?
MARY
Patrick killed our father. Do you
understand?
JOSEPH
Listen Mary, we don't know anything
for sure. Ten years ago, it was
Patrick's father who was in charge not
Patrick.
MARY
Does it matter?
JOSEPH
Life isn't black and white, Mary. And
sometimes what's right isn't always
what's easy or what makes us feel
good.
Joseph holds both her shoulders.
JOSEPH (cont'd)
You were always right. Just because
we've been hurt, doesn't mean we stop
doing the right thing.
They lock stares. Mary hugs her brother again.
MARY
You've changed.
JOSEPH
Blame yourself.
EXT. MARCUS' PALACE - DAY
Day breaks. Shot of the castle from outside. A well guarded caravan arrives into the castle square
Mary and Joseph climb up to the roof of the palace. They head towards the highest point of the roof. The roof is slanted and dangerous to traverse. As they make their precarious trek, they see a group of people on the palace wall below them. They duck down to avoid being scene, but continue to watch the group
Close on ...
EXT. MARCUS' PALACE, WALL - CONTINUOUS
On the wall overlooking the square, Marcus stands with Patrick. A few meters away from them, Dudley and a few guards hold Jaime and the baby hostage.
One face of the wall they stand on is by the palace square and the other is by the sea. It's a sharp drop down to the crashing waves.
MARCUS
Watch the end of your reign arrive.
Marcus points at the arriving caravan.
PATRICK
You had this planned all along.
MARCUS
Your father was a great man. He knew
what it means to uphold our Eitroian
traditions. He would be ashamed to see
his son's disregard to everything
holy; everything we worked hard to
build.
PATRICK
Our Law is broken. What makes us
better than them?
MARCUS
They were the ones who attacked us.
They were the ones who killed our
children.
PATRICK
Drop the act Marcus. We both know
these are child's tales and not
history. The fault lies in both our
peoples.
Marcus takes out his dagger and places its edge on Patrick's neck.
MARCUS
I ought to take your head off right
now. But I want the Counts of our
thirteen Realms to hear your
confession. You will stand in front of
the Eitorian Synod and admit your
treasonous acts.
Marcus leans closer to Patrick.
MARCUS (cont'd)
And if you don't...
Marcus forces Patrick to look at his scared wife and kid.
MARCUS (cont'd)
Well, you know what's going to happen.
JAIME
Don't do it Patrick.
PATRICK
We both know the Law. Upon my
confession, you'll have the right to
execute me on the spot. What
guarantees me you'll keep my family
alive?
MARCUS
I'm not interested in Stronglandian
slaves.
WITH MARY AND JOSEPH
Joseph and Mary watch Marcus and two of his guards drag Patrick away. Dudley and three other guards remain with Jaime and the baby.
Joseph and Mary exchange looks.
MARY
Who exactly is your friend? Cause
we're gonna need all the help we can
get.
JOSEPH
Oh you'll see.
Joseph looks towards the forest and produces a sequence of whistles.
EXT. FOREST, TREE LINE - CONTINUOUS
Eimar is hidden at the tree line. He cocks his head up and angles his ears towards the sound. He looks in Joseph's direction.
POV OF EIMAR
Eimar has very sharp vision. He can see Joseph on the roof. Joseph signals a circular motion with his arms. Eimar seems to understand it and bursts into a quick sprint.
EXT. MARCUS' CASTLE, ROOF - CONTINUOUS
At first Mary doesn't see what's going on. Then she sees Eimar. She grabs Joseph's arm and points at Eimar.
MARY
This is not good. Look.
But Joseph is already looking in Eimar's direction; watching him circling around the castle, coming from the back side.
JOSEPH
Oh, I forgot to tell you. That's the
friend, I was telling you about.
Mary looks at Joseph incredulously. When she looks back at Eimar, he's already gone.
MARY
Where did it go?
JOSEPH
He.
MARY
What?
JOSEPH
It's a he. His name is Eimar. And be
nice to him. He's sensitive.
MARY
Really?!
JOSEPH
Let's go.
They move from their position, staying as flat against the roof as possible to avoid being seen. They can see Dudley and three other guards with Jaime and the Baby. Guard 1 guards Jaime and the Baby at sword point. The other two guards are a few feet away from the hostages, moving back and forth, weapons ready. Dudley keeps close to the hostages but not as close as the other guard. His weapon is also ready.
The roof Mary and Joseph are on is elevated above the wall. To their left is a deadly drop to the sea and to their right is the palace court.
Mary is behind Joseph as they crawl on the roof.
Mary hears strange whistling to her left. She looks up and gasps in shock. A mere foot beside her is Eimar's huge head.
She backs away in the opposite direction. Joseph looks back and sees Mary backing up in fear towards the edge of the roof. Another second and she'll fall off. He dives for her and stops her from falling. Just as her foot goes off the edge, he pulls her back to safely.
JOSEPH (cont'd)
It's okay. It's okay.
Mary stares at Eimar, terrified.
JOSEPH (cont'd)
Mary, meet Eimar. Eimar, meet Mary.
Eimar produces a sequence of soft whistles. Mary continues to look at him terrified.
JOSEPH (cont'd)
Mary?
MARY
How come you never told me about him?
I mean...
Mary gestures at Eimar as if he's big news. Joseph shrugs.
JOSEPH
Never came up.
MARY
Never came up?
JOSEPH
Okay, here is what I'm thinking. If
we're able to free Jaime and her baby,
Marcus will have no more leverage.
MARY
I hate to admit it, but Patrick is
more tolerable than Marcus.
JOSEPH
(to Eimar)
I'll cause a distraction, and you take
out the two guards over there.
Joseph points at the two guards patrolling the perimeter. Joseph spies out a way to get down to the wall.
JOSEPH (cont'd)
(to Mary)
You stay here.
MARY
No way. I'm coming with.
JOSEPH
Mary...
Mary gives him a defiant stare.
JOSEPH (cont'd)
Oh, never mind.
Joseph moves carefully and gets on Eimar's back.
JOSEPH (cont'd)
Okay. Let's go.
Mary hesitates for a moment and then follows Joseph carefully. She holds Joseph's extended hand and puts one foot on Eimar's back. Her foot slips, but Joseph is able to maneuver her behind him. It takes Mary a moment to secure her position and holds onto Joseph from behind.
MARY
Never came up? Really?!
Eimar scales down the wall, staying out of the visual range of the guards. He positions himself in a spot on the wall, which allows Joseph and Mary to get off unseen. Joseph helps Mary on the wall and then follows suite. They hide behind a thick stone beam.
Joseph touches Eimar's face. Eimar leans into Joseph's hand.
JOSEPH
Okay Eimar, on my signal. Got it?
Eimar whistles and then scales the wall, disappearing from view.
MARY
Any other secrets you wanna tell me?
JOSEPH
It wasn't a secret. It just never came
up.
Joseph sneaks a look at the guards.
JOSEPH (cont'd)
Stay put. Once Jaime and the baby are
free, call them over and get out of
here.
Joseph walks out from their hiding spot before Mary can respond. He heads directly towards Dudley and his men.
Joseph is about half way towards them when they are alerted to his presence.
SOLDIER 1
Halt.
Joseph stops.
JOSEPH
Oh, sorry, I didn't mean to interrupt.
You see, I'm a bit lost. It's such a
huge castle you guys have here.
Dudley recognizes Joseph.
DUDLEY
You.
(to his soldiers)
Kill him.
JOSEPH
Oh is that anyway to treat a guest?
Joseph backs up, pulling the two soldiers away from Jaime and the baby. Dudley and the other solider stay close to the hostages.
JOSEPH (cont'd)
Can't we all just be friends?
One of the soldiers smile.
JOSEPH (cont'd)
Okay have it your way.
Joseph whistles.
Suddenly, Eimar leaps up. No one has time to react before Eimar grabs one of the soldiers with his mouth and chucks him over the wall, into the sea. The soldier goes down screaming.
The other one tries to hit Eimar with his sword. He succeeds in only angering him. Eimar roars at the soldier. The soldier drops his weapon in terror and turns to run, but is met with Joseph's fist in the face. The soldier's head hits the stone wall with a notable crack and goes down like a sack of potatoes. A dagger he had on him slides on the ground and stops by Dudley's feet.
The soldier with Dudley runs away.
DUDLEY
Come back here.
Dudley snatches Jamie and places his dagger on her neck.
DUDLEY (cont'd)
Get back. Tell that beast to get back.
JOSEPH
Eimar. Stop.
Eimar backs up. Then a volley of arrows hit him. Some of them bounce of his armor. Eimar gets between the source of the arrows and Joseph. Eimar charges the archers on the opposite side of the wall with a terrifying roar.
Dudley and Joseph circle each other. Dudley keeps Jaime and the baby between him and Joseph. His dagger is on her neck.
Mary charges Dudley from behind. She pounces on his back with a battle cry and scratches his face. Dudley is disoriented as he backs up towards the side of the wall overlooking the ocean. Mary's attack drives Dudley, Jaime and Mary closer to a dangerous fall.
The wall is designed with regular, rectangular highs and lows. Dudley backs into the wall slamming Mary on the high side of the wall. Mary doesn't let go. He does it again, but misses and goes into the low side, which is no higher than his knee.
DUDLEY
Get off me.
Dudley tries to reach back for her, but Mary uses all her weight to offset his balance. His arm flail and he lets go of Jaime.
Mary and Dudley tumble off the wall towards a watery death.
JOSEPH
No.
Joseph rushes to the side of the wall and looks down. The sight which greets his eyes both gladdens and terrifies him at the same moment.
Mary was able to grab on the wall two or three meters down. The wall has many nooks and protruding stones. However, Dudley has also successfully done the same thing, not too far beneath Mary.
Mary climbs up.
JOSEPH (cont'd)
Hurry Mary. Hurry.
Joseph extends his hand to her, but she's out of reach. Mary climbs, but Dudley is way faster. He grabs Mary's feet and tugs on it.
Mary screams.
JOSEPH (cont'd)
No. No. Let her go.
Joseph looks around and sees the dagger which had slipped from the soldier he hit. He grabs it and puts it in his mouth.
Mary screams as she tries to hold on with all her might.
Joseph climbs on the edge of the wall and with a daring stunt he jumps off and grabs onto Dudley's back. But Dudley doesn't let go of Mary, even though Joseph's added weight disorients him.
DUDLEY
I'll kill you both.
Joseph takes the dagger from his mouth and stabs Dudley's hand holding Mary's foot. Then he uses his legs to pry Dudley off the wall.
They both tumble towards the crashing waves.
Mary looks down in horror.
MARY
Joseph. JOSEPH.
Mary sees a black thing flash past her. It takes her a moment to realize it's Eimar scaling down the wall after Joseph.
Joseph and Dudley disappear into the raging sea.
MARY (cont'd)
Come on. Joseph. Come up. Please. Come
up.
But Joseph doesn't surface. Eimar jumps into the water. He surfaces several times but each time without Joseph and each time Mary's heart sinks further.
JAIME
Mary. Climb up. Come on.
Mary looks up and then back towards the ocean. Now Eimar is no where to be seen.
Tears flow down Mary's face.
JAIME (cont'd)
Mary, come on.
Mary climbs up and jumps on the wall. Jaime hugs her.
JAIME (cont'd)
I'm so sorry.
Mary pulls away from Jaime and looks down again at the water. There is no Joseph. No Eimar. Mary takes a deep breath and looks at Jaime.
MARY
We have to stop Marcus. It's what
Joseph wanted.
Mary guides Jaime away.
The wall is now void of soldiers. Eimar had scared all of them away.
INT. MARCUS' CASTLE, GRAND HALL - CONTINUOUS
The grand hall is elegantly decorated. The walls are adorned by swords, shields, Eitorian paintings. A semi-circular table is in the middle of it. The table's semi-circle surrounds a lowered podium where Marcus stands beside a kneeling Patrick. Twelve men and women sit around the table, as if watching a theatrical show. Hadrian is there as well.
MARCUS
As you've heard, by this traitor's own
admission, he had planned to, and
indeed succeeded, in anointing his
half breed son the next Count of the
Westerden Realm, and an eventual
member of our Holy Synod. If this does
not dictate his immediate death, I
don't know what will.
(beat)
My fellow Eitorians, my case against
this treasonous man has been laid down
bare before you with great detail. His
actions will eventually lead to the
splintering of this Synod and our
Great Nation will undoubtedly follow.
All what our ancestors have worked and
died for will be for nothing if we do
not continue on the path they laid
down for us. As Stewards charged with
shepherding our community we can not
in good conscious stand idle. Decisive
action must be taken.
Marcus takes out his sword and places it on Patrick's neck.
MARCUS (cont'd)
I can not be the only one in this room
who feels the overwhelming zeal for
our Great Eitorian Nation. Who is with
me?
JAIME (O.S.)
You speak with much passion. Yet your
words ring empty, Marcus.
Everyone swings around to see Jaime, holding her Baby, accompanied by Mary, exit a side door.
PATRICK
Jaime!
JAIME
(addresses the rest
of the Synod)
Counts, would you listen to a man who
has coerced a confession out of my
husband? For he has confessed a sin
only to spare us from certain death by
the hands of Marcus' men.
An elegantly dressed woman, COUNT 1, sitting in the middle of the table stands up.
COUNT 1
Is what this Stronglandian woman says
true, Marcus?
Marcus is flustered and angry at the interruption.
MARCUS
What does it matter? Everything I said
here is true. What I did, I did for
the good of Eitoria.
A murmur goes through the room, as the counts lean towards each other and talk.
COUNT 1
Our laws demand a proper judicial
investigation. We can not sentence an
Eitorian to death, not withstanding, a
Count, based on a coerced confession.
What I see here is you attempting to
circumvent our laws in order to arrive
to the outcome you desire. This is not
our way.
Hadrian stands up.
HADRIAN
I agree father. We can not save our
Traditions by breaking them.
Marcus is angrier now.
MARCUS
(turns to Count 1)
You know nothing at all, it is
expedient for us that one man should
die for the people, and not that the
whole nation should perish
Marcus raises his sword. But Patrick charges him. They both fall down. Patrick's hand is tied behind him, giving him a major disadvantage in the fight.
Patrick head butts Marcus breaking his nose.
Marcus pushes Patrick away. They both scramble to their feet.
All the counts stand up.
COUNT 1
Stop this.
Jaime advances, but is held back by one of the guards.
JAIME
Stop it. Someone stop it.
Patrick kicks Marcus. Marcus swings his sword, but Patrick ducks avoiding it.
WITH MARY
Mary takes the opportunity that everyone's attention is directed towards Marcus and Patrick and snatches one of the many swords decorating the wall.
WITH MARCUS AND PATRICK
Marcus' advantage is undeniable. After a short fight, Marcus knocks Patrick on his back.
MARCUS
(to the synod
members)
Our law is clear. He polluted our
bloodline and for this his blood must
be spilled.
Marcus raises his sword to finish Patrick off.
Suddenly he gets stabbed through the back. A sword protrudes from his chest. He looks down at the bloodied blade in astonishment before he crumbles to his knees.
HADRIAN
NO. FATHER. NO
Behind him Mary still has a hold on the handle of the sword. She let's it go.
The sword falls from Marcus' hand. Hadrian rushes to his father.
HADRIAN (cont'd)
(to Mary)
What have you done? What have you done
Mary's eyes swell with tears as she backs up in genuine disbelief at what she has just done.
HADRIAN (cont'd)
Father. Oh. Please, don't die.
Marcus grabs Hadrian's arm in desperation. He coughs and can hardly take his breath. Marcus looks at the members of the synod
MARCUS
I only wanted glory for Eitoria.
He falls into Hadrian's embrace.
Silence fills the room.
Mary can't take her eyes off Hadrian, who looks at her with a look of anguish on his face. Mary feels like she has betrayed Hadrian, who had helped her.
A soldier grabs her.
Patrick gets up.
PATRICK
(to the soldier)
Don't hurt her. Please.
(to the synod)
You have all scene how Marcus took
matters into his own hand disregarding
the synod. This young lady simply put
an end to that.
(beat)
I now submit myself under Eitorian
Justice. I do not refuse to answer for
anything I have done. But we must not
continue injustice against others.
There is a moment of silence.
COUNT 1
Take the Stronglandians out of here.
The soldier guides Mary and Jaime away.
INT. MARCUS' CASTLE, ROOM - LATER
Mary looks out of the window over looking the sea.
Jaime puts her baby to sleep on the only bed in the room.
JAIME
I'm sorry about your brother.
Mary wipes away tears from her eyes.
Jaime puts a hand on Mary's shoulder, but Mary squirms away.
JAIME (cont'd)
We're not your enemy.
Mary sneaks a look at Jaime.
MARY
Are you sure about that?
The door to the room opens and Hadrian accompanied by a guard steps through.
Mary takes a hasty step towards him.
MARY (cont'd)
Hadrian, please, I didn't want to...
Hadrian holds up his hand, cutting Mary off. Patrick steps in behind them.
Jaime runs to Patrick and hugs him.
HADRIAN
You have two days to get out of
Westerden. All of you. If my soldiers
see you after the two days grace
period I'm allowing you, you'll be put
to death on the spot.
Hadrian looks directly at Mary.
HADRIAN (cont'd)
It's more mercy than you've showed my
father.
Jaime looks at Patrick confused.
PATRICK
The Synod has made Hadrian the Count
of Westerden.
Patrick bows to Hadrian.
PATRICK (cont'd)
Long live the House of Hadrian.
Hadrian throws one last look at Mary and walks out.
EXT. BEACH - DAY
Mary sits by the beach looking at the water.
She's completely alone away from any civilization.
She senses motion from nearby. Eimar startles her.
Eimar sits beside her and produces some melodic whistles. Mary calms down.
She hesitantly reaches and touches his face as Joseph used to do. He leans his large head into her hand.
MARY
Hey Eimar. I'm glad you dropped by.
They sit by each other in silence for some time.
Eimar finally nudges Mary and whistles. He gestures for her to get on his back.
MARY (cont'd)
You want me to get on? Where are we
going?
Eimar whistles.
MARY (cont'd)
It's gonna take some time to learn
your language.
Eimar whistles again.
MARY (cont'd)
Alright. Guess, I have no place else
to go.
She jumps on Eimar's back. Eimar sprints away
EXT. FOREST - DAY
Eimar runs through the forest
EXT. ALFREDA'S HOUSE OUTER PERIMETER - LATER
Alfreda is outside walking around on home made crutches, inspecting the damage to the wall surrounding her house.
There is some noise behind her. She looks back and is started when she see Mary and Eimar standing behind her.
She freezes for a moment.
ALFREDA
Is Jaime safe?
Mary nodes. Alfreda sighs in relief but then recognizes the unmistakable sadness on Mary's face.
ALFREDA (cont'd)
Joseph?
Mary shakes her head and her eyes swell with tears. Alfreda is moved by the news. She limps towards Mary and hugs her.
ZOOM OUT INTO A WIDE SHOT
Mary and Alfreda comfort each other.
FADE TO BLACK: