Angels and Demons

ANGELS AND DEMONS
an original screenplay by
Sam Henry Miller
Sam Henry Miller

Sam@scenome.com
FADE IN:
INT. PSYCHIATRIST'S OFFICE - DAY
MATTHEW (11) gazes beyond; his eyes and shoulders slouch
under the weight of more than just gravity. He looks pensive,
but more distracted than intrigued. DR. JANUS (female, 40s)
attempts to lift his attention with kind, honest inquiry.
It is another session where both participants pretend to
ignore the grim truth: that no medical revelations will occur.
Just talk, and more talk. The WINDOW-BLINDS bleed SUNLIGHT
sporadically at the behest of PASSING CLOUDS.
DR. JANUS
How have you been sleeping?
MATTHEW
Ok.
Good dreams?
Neither.
DR. JANUS
Bad dreams?
MATTHEW
Well, both I guess.
DR. JANUS
Tell me about your hallucinations.
Have they changed since our last
visit?
MATTHEW
They're about the same, I think.
Um.
DR. JANUS
Fractals? Wisps?
Voices?
MATTHEW
All of those...
DR. JANUS
Go on.
MATTHEW
The voices are
(beat)
softer but scattered. Sometimes
they're really close, but usually
they're pretty far away.
DR. JANUS
Do you find that pleasant or
unpleasant?
Both.
MATTHEW
Well, neither actually.
2.
The typical terseness of Matthew's condition freezes his
expression and belies a torrential mind. An awkward silence
ensues, as if he was expected to elaborate.
DR. JANUS
And the fractals, do they ever
manifest into more solid figures?
MATTHEW
(abrupt)
No. Just fractals, like, you know,
galaxies and waves. They dance
through the air.
DR. JANUS
Are they entertaining?
MATTHEW
Sometimes.
(beat)
Well, not while I'm trying to do
homework.
A nervous chuckle escapes Matthew's mouth, and he meets his
doctor's gaze for a brief moment. She smiles back genuinely.
DR. JANUS
I imagine they can get pretty
colorful.
MATTHEW
Mhm.
DR. JANUS
Kind of like fireworks?
Suddenly perturbed, Matthew shifts in his SEAT.
MATTHEW
I don't like fireworks.
DR. JANUS
I understand. Would you be
comfortable elaborating on why not?
MATTHEW
No.
Dr. Janus nods.
MATTHEW (CONT'D)
I'm sorry.
DR. JANUS
That's fine, if you're not comf-
3.
MATTHEW
(impulsive)
I just don't like fire;
(beat)
It makes everything too... loud.
Piqued, Dr. Janus leans forward slightly.
DR. JANUS
Why do you think that is?
Suddenly, Matthew slams his gaze to the floor, his pupils
jolting rapidly, his jaw clenching off and on.
DR. JANUS (CONT'D)
Matthew?
No answer.
Matthew?
DR. JANUS (CONT'D)

Are you here?
Still no answer.
DR. JANUS (CONT'D)
Matthew, where are you right now?
CUT TO:
INT. CAR - DAY
From the passenger seat, Matthew fixates on a GENERIC CHURCH
BILLBOARD as he passes. It reads: "'Be strong and courageous.
Do not be terrified; do not be discouraged, for the LORD
your God will be with you wherever you go.' Joshua 1:9."
A gentle FEMALE VOICE lulls him to attention.
FEMALE VOICE (O.S.)
Matty?
It's Matthew's mother, LEAH (30's, gaunt). Her visage bears
the weight of stress: CRACKS and the occasional GREY ROOT.
The concern cast over her expression seems to imply that the
only thing more serious than her son's condition is her love
for him.
MATTHEW
Mom.
LEAH
Sweety, how do you feel?
MATTHEW
I'm ok.
4.
LEAH
Dr. Janus said you've made a lot of
progress since your last therapy
session.
MATTHEW
Really?
LEAH
Of course(beat)
Why? You don't think so?
MATTHEW
I don't see the point.
LEAH
The point of what?
MATTHEW
Of all of it.
LEAH
Honey, she's helping you-- all of
this is so you can get healthier.
Matthew's furrowed brow hints at a genuinely mulling mind,
yet he ultimately forfeits, exasperated.
MATTHEW
I don't feel sick.
LEAH
Sweety, I know.
(beat)
But, sometimes, the places where
we're the sickest are the places we
can't feel.
He looks off, half contemplative, half defiant.
LEAH (CONT'D)
Sometimes we can't see how sick we
are until we're healthy.
(beat)
Ok?
She lends out a hand.
He takes it.
MATTHEW
Ok, mom.
CUT TO:
5.
INT. MATTHEW'S BEDROOM - NIGHT
THE FIGURE, a six foot tall haze of shape-shifting shadow
looms over Matthew's turned back. It seems to exude a LIGHTBENDING AURA, making discernable features either ethereal or
ambiguous, save two lanky ARM-LIKE APPENDAGES. It sees
without eyes and, in an almost VIBRATIVE BARITONE, speaks
without a mouth.
THE FIGURE
Matthew.
Matthew flips over immediately from the shock of arousal.
He calms however when he recognizes the eery, formless
familiar.
MATTHEW
You frightened me.
THE FIGURE
Of course I did.
MATTHEW
What time is it?
THE FIGURE
Time for a test.
MATTHEW
No, please. I have school tomorrow.
I need to sleep; if I fall asleep in
class again(beat)
They'll all laugh at me.
The Figure hovers for a moment. It seems to be judging
Matthew, interrogating him with its solemnity.
THE FIGURE
You did well today.
Matthew re-positions himself back to the wall,
visitor.
MATTHEW
I lied.
THE FIGURE
Some lies are important.
MATTHEW
(mistrustful)
I don't know..
to face his
6.
THE FIGURE
As important as the truths they
protect.
MATTHEW
And what truths are those?
THE FIGURE
Us.
MATTHEW
You.
THE FIGURE
Us.
Please.
MATTHEW
Just leave me alone tonight.
THE FIGURE
You've earned a reward.
MATTHEW
You said a test. I hate tests; you
know I can never focus long enough
toTHE FIGURE
A trial.
(beat)
Will you follow me?
Matthew contemplates the offer--the consequences, the factors,
the possibilities--his brow contorting in apprehension.
THE FIGURE (CONT'D)
Please.
MATTHEW
It's dark out.
THE FIGURE
Are you afraid of the dark?
MATTHEW
(reflexive)
No. It's just(beat)
What if we get lost?
THE FIGURE
Have I ever led us astray?
Matthew's eyes dart.
7.
THE FIGURE (CONT'D)
Here, take my hand.
The Figure offers a SLICK BLACK APPENDAGE, and Matthew takes
it.
CUT TO:
EXT. THE WOODS - NIGHT
The MOONLIGHT reflects off SLENDER DECIDUOUS ELMS, their
wind-rattling DANGLY BITS filling the forest with an
anthropomorphic aura.
Matthew follows his guide, who seems to weave or slide past
obstacles that he himself has to push aside or be pushed
aside by.
MATTHEW
The trees are alive.
THE FIGURE
Everything is alive.
MATTHEW
But they can't talk.
THE FIGURE
And I can't walk. Yet still, I move.
And does it ever, seemingly taking the shape of whatever
animal suits its obstacle: in mid leap, a BLACK CAT; in mid
swing, a DARK PRIMATE; in mid scuttle, an ARMY OF BEETLES.
Whatever The Figure may or may not be, it certainly is deft.
MATTHEW
So what's my test(beat)
I mean my trial?
THE FIGURE
Do you hear that noise?
MATTHEW
All I hear is noise.
THE FIGURE
Yes, but I mean that noise.
It becomes clear then: that distinct tempo of a WAVE-FORM'S
RIPPLE, clashing, soothingly, like an audible dough kneading
itself over and over.
8.
MATTHEW
We're by the river.
(beat)
You know I know how to swim.
THE FIGURE
I do.
MATTHEW
I can hold my breath for like two
minutes, at least.
THE FIGURE
That you can.
MATTHEW
I'm not afraid of the water.
THE FIGURE
No, you're certainly not.
Still in toe, an extended silence hints at Matthew's
contemplation; it usually does.
MATTHEW
This was a stupid idea. I should've
stayed home. I can't believe I
decided to come here. I should've
gone to bed; I should'veTHE FIGURE
(abrupt)
Stop!
Suddenly, it is in front of Matthew, six-feet of TRANSLUCENT
GLOOM. Matthew's submissiveness to The Figure is evident by
his inability to look up. Instead he peers through the
shadow, the LIGHT off the PEAKING RIVER flickering like stars
through space-dust.
THE FIGURE (CONT'D)
Do you remember Ms. Cole?
MATTHEW
Yes, my grade three teacher(beat)
Why?
THE FIGURE
Do you remember what she was like?
Uh..
MATTHEW
she was pretty mean, and scary.
9.
THE FIGURE
And why do you think that was?
MATTHEW
(grasping)
I- I don't know.
THE FIGURE
Yes, you do.
MATTHEW
Mom always says that the scariest
people are usually the scaredest.
THE FIGURE
Scared of what, do you think?
MATTHEW
Anything. Everything.
(beat)
Like being suspended- er, I mean
being fired. Or losing a loved one.
THE FIGURE
Or never having a loved one.
Suddenly, a trickle of dread drips through Matthew's
expression.
THE FIGURE (CONT'D)
This way.
He hesitates.
THE FIGURE (CONT'D)
Please.
The Figure leads him to the RIVER SIDE. The GENTLE WAVES
kissing the STONE LADEN SHORE are, for a moment, calming.
THE FIGURE (CONT'D)
Ms. Cole never had a loved one.
MATTHEW
How do you know that?
THE FIGURE
Because she's floating right over
there.
The Figure eases out a SLENDER ARM, pointing at a DRIFTING
MASS no more than ten feet up the bank.
Matthew's eyes light up with hot terror.
dead body before.
He's never seen a
10.
His breathing begins to accelerate to an erratic pace.
THE FIGURE (CONT'D)
Don't be frightened, Matthew.
MATTHEW
(panicked)
I- you- why did youTHE FIGURE
Don't let your cowardice overcome
you.
MATTHEW
(frantic)
Stop! Please!
The voices of an UNKNOWN LEGION begin to engulf him.
whips his palms to his ears in defense.
He
But to no avail.
Cowardice.
UNKNOWN LEGION (V.O.)

Coward. Coward.
MATTHEW
You're scaring me, stop!
THE FIGURE
I'm disappointed with you, Matthew.
The panic throws Matthew into a catatonic convulsion, his
feet slapping noisily on the water, but his head luckily
above it.
You're afraid! You're a
Coward.
coward!
THE FIGURE
What would your father say if he
could see you now?
Stop!
MATTHEW
Please stop!
Mom!
Mom!
CUT TO:
INT. POLICE STATION
- NIGHT
Leah is speaking to a CONSTABLE and his NOTEPAD.

LEAH
Schizophrenia.
11.
CONSTABLE
And how do you spell that, sorry?
LEAH
S-C-H-I-Z-O-P-H-R-E-N-I-A.
CONSTABLE
Phew, that's a doozie.
LEAH
(unamused)
He's a sensitive boy. Sometimes he
won't talk if he feels uncomfortable.
CONSTABLE
Trust me, I prefer the ones that
talk less than the one's who don't
know when to stop.
LEAH
Sometimes he'll make up stories,
like most children do.
(beat)
Except his are delusions--not just a
wild imagination.
CONSTABLE
I used to have an imaginary friend
named Gumbo, a talking shrimp, until
I was 13, believe it or not.
LEAH
(indignant)
It's not like that. He's very sick.
We're working on it.
The Constable decides to don his serious face.
CONSTABLE
Ma'am, there's nothing to worry about.
It's a shame your son had to see
what he saw.
(beat)
On the other hand, his discovery
will bring closure to some of the
community's fears. Everything here
reads textbook suicide: the 2nd best
outcome to a missing persons case.
Leah, dumbfounded, glares at the Constable, disgusted by his
experience-dulled "sympathy".
12.
CONSTABLE (CONT'D)
I just need to ask him a couple of
questions for the record, and then
he's good to go. All right?
LEAH
Please, let him know that I'm just
in the other room if he needs
anything.
CONSTABLE
Yes, ma'am.
INT. POLICE STATION - CONTINUOUS
Through a few DOORS, Matthew is actually seated outside the
questioning room. The police know how to deal with children
at least--especially recently (or in this case, constantly)
disturbed ones.
Matthew's is fixated on an arbitrary spot ahead. He's in
his mind more than reality, no doubt, replaying the trauma.
The Constable pulls up a CHAIR next to him.
CONSTABLE
Hi, Matthew.
No response.
CONSTABLE (CONT'D)
My name's Constable Gregson, and I
know you must be feeling really weird
right now. I would be too if I were
in your position. But I just need
to ask you a couple of questions and
then you're free to go. Is that ok?
For a second, no one is home. Then, as if awakening--having
a dream-noise reinterpreted into reality to reveal its true
source--Matthew tilts his head to the Constable.
MATTHEW
How did I get here?
CONSTABLE
You were by the river, remember? A
passerby heading over the walk-bridge
saw splashing. They came over to
investigate, and well(beat)
They called us.
MATTHEW
Oh.
13.
CONSTABLE
Do you remember what happened before
you lost consciousness?
MATTHEW
Yes.
CONSTABLE
Ok, good, good. You don't have to
say it. I just need to know how you
came about.. what you saw.
MATTHEW
I- I just- was going for a walk.
An awkward silence ensues, as if the officer expected him to
elaborate.
CONSTABLE
It's dangerous for boys of your age
to be walking out in the woods at
two in the morning.
Oh god.
MATTHEW
My mom is going to kill me.
CONSTABLE
(chuckling)
No, she isn't; now trust me, that
woman loves you.
MATTHEW
CONSTABLE
Well, I see quite a few worried
mothers in my line of work, and I
know the difference between the nice
ones and the nasty ones.
MATTHEW
She is nice.
CONSTABLE
You're a lucky man, Matthew.
Matthew begins to drift.
CONSTABLE (CONT'D)
Now, about what you saw. Was there
anything in particular that led you
to the spot? Maybe some animal
noises, or you saw something out of
place...
14.
Unconsciously, Matthew's heel picks up a STEADY TAP.
CONSTABLE (CONT'D)
Or a funky smell...
MATTHEW
(reflexive)
Yeah, it was the smell.
CONSTABLE
Mhm. So it smelled really weird,
and you were curious to see what was
making that smell.
Matthew nods.
His foot picking up tempo.
CONSTABLE (CONT'D)
Well, I just want you to know that
this sort of stuff happens, and it's
ok, and you put a lot of minds at
ease by finding what you found.
MATTHEW
Is it because she was so mean?
The Constable does a double take.
become not so routine.
The routine has suddenly
CONSTABLE
You know who she was?
MATTHEW
She was my third grade teacher, Ms.
Cole.
CONSTABLE
Matthew's slip of the tongue catches even himself off guard,
and he notices too late.
MATTHEW
(stammering)
I- I- saw her face.
CONSTABLE
Matthew... I don't know how to put
this. When a person spends that
much time in water- well, you can't
recognize them.
The officer's sudden change of tone--"the sternness of the
law"--ignites a pale panic about Matthew, instantly tearing
down any flimsy pretense he could've possibly mustered.
15.
MATTHEW
(blurting)
It was The Figure.
CONSTABLE
The Figure?
MATTHEW
It visits me sometimes. It takes me
to places I don't want to go. Please,
don't send me to jail. Please. It
wasn't my fault.
CONSTABLE
It's ok, it's ok. I promise you're
not going to jail. You have my word.
(beat)
Now, can you tell me more about this
"figure?"
MATTHEW
(under his breath)
Oh, no. Oh, no.
Terror bleeds over Matthew's pale face.
he's already said too much.
He can't reply;
CONSTABLE
Matthew?
His eyes glaze over once again; his muscles turn to ice.
Matthew?
Matthew?
CONSTABLE (CONT'D)
Is everything all right?
CUT TO:
INT. SCHOOL YARD - DAY

Matthew is sprawled under the shade of an OLD OAK TREE, a
hand-held GAMING CONSOLE in his grasp. THE SUN enlivens the
children behind him, but, for Matthew, it's always seemed
too intense--the light, the heat.
To his game, his fingers bolt with utmost focus and reflex.
Upon closer examination we see he is playing "KID ICARUS:
UPRISING" for NINTENDO 3DS: a game where an angelic,
adolescent protagonist soars across various dreamscapes to
vanquish his foes with a shimmering, bladed bow and arrows
wrought of pure light.
FEMALE VOICE (O.S.)
Matthew.
16.
He doesn't even take notice.
Um.
FEMALE VOICE (CONT'D)

Matthew?
Then he does, with a bit of shock. It's ASTRID (11, blonde),

a pretty little flower who seemed to be budding earlier than
her classmates. Why she would be speaking to Matthew, God
only knew.
MATTHEW
Ha.. Uh.. Astrid..
Matthew, used to butchering spontaneous greetings, seems
hardly phased by his own awkwardness.
ASTRID
I heard about what happened.
MATTHEW
Oh.
Astrid reveals the BROWN PAPER BAG she was concealing behind
her back.
ASTRID
I just wanted to give you this.
MATTHEW
(dumbstruck)
Uh..
She hands him THE BAG.
ASTRID
(abrupt)
I'm sorry.
She whips around and races off.
Matthew peels open the CRACKLEY BROWN PAPER.
A single APPLE lay inside.
Apprehensively, he reaches his hand inside to grasp the sweet,
forbidden fruit. His eyes widen as an odd sensation overcomes
his digits.
He wrenches the APPLE out. It's infested with WORMS; they
slither, prod, and weave between his fingers--a funny and
not wholly unpleasant thing. He seems more curious than
disgusted by the spectacle.
Laughter erupts from a GAGGLE OF BOYS by the MONKEY BARS.
Astrid is with them, her head down, ashamed.
17.
BOYISH VOICE (O.S.)
Freak!
Matthew relinquishes the APPLE, gently, to the ground.
Freak!
Matthew's resolve towards bullying is firm--someone like him
would have to be--but the word seems to sting like a syringe
each time it's spewed.
Freak!
UNKNOWN LEGION (V.O.) (CONT'D)

You're a freak, Matthew!
He winces.
Run, freak!

Run!
Desperate to escape the taunting, he complies with a dash,

accidentally crushing his NINTENDO 3DS in the scramble.
Away and away. The further he goes, the less the voices
pinch, the more the anonymous abuse quells.
He goes and goes, and soon enough, the seething attack dims
to a simmer, and cools with the BREEZE.
CUT TO:
The Figure is already there, looming, SHIFTING, silent.
Likewise, Matthew, is already awake, back to the wall,
leering, waiting for words.
None come.
He relents.
MATTHEW
What kind of a test was that?
The Figure appears to tilt what seems like a HEAD, examining

its subject.
MATTHEW (CONT'D)
I asked you a question.
THE FIGURE
A question you already know the answer
to.
What?
MATTHEW
You wanted to scare me?
18.
THE FIGURE
No.
(beat)
You wanted to scare you.
MATTHEW
(incredulous)
I didn't know there would be a dead
body there.
THE FIGURE
Yes, you did.
Matthew shakes his head in disbelief/denial.
THE FIGURE (CONT'D)
What you didn't know was how you'd
react.
MATTHEW
Like any normal person?
THE FIGURE
Like a coward.
MATTHEW
(weakly)
I'm not a coward.
THE FIGURE
Don't deceive yourself, Matthew.
MATTHEW
Go away.
(beat)
Just go the hell away.
THE FIGURE
Soon.
Another stare-down ensues: The Figure hovering like an
ENCAPSULATED HEAT-WAVE, and Matthew, holding a bold facade
like a breath under water.
THE FIGURE (CONT'D)
You told them about us.
MATTHEW
About you.
THE FIGURE
About us.
19.
The Figure's LANKY APPENDAGES fold out like SPIDER-LIMBS.
This time, however, what appears to be fingers- no, CLAWS,
extend with a grotesque SPLURGE from the tips.
THE FIGURE (CONT'D)
All actions must have their
consequences.
MATTHEW
No, don't do that. Please don't do
that.
THE FIGURE
Spare the rod; spoil the child
MATTHEW
(frantic)
Please don't. I promise. I'llI'll never mention you again. I'll
never open my mouth again. I promise.
THE FIGURE
Good.
The Figure seems to relax for a moment.
THE FIGURE (CONT'D)
So you will not scream then.
No!
Please!
MATTHEW
I'll never--
The Figure proceeds grimly towards Matthew, CLAWS fully

extended.
THE FIGURE
Be brave, Matthew. It'll be over
soon enough.
Matthew forces a PILLOW to his mouth as the SHADOW engulfs
him.
MUFFLED SCREAMS seep outside the cracks of his BEDROOM DOOR.
CUT TO:
INT. MATTHEW'S BEDROOM - MORNING
DAYLIGHT hits like a flame-licked lash against Matthew's
skin. He throws the covers off to find his arms scratched,
DEEP and BLOODY. His INNER SHEETS are spotted with DRIED
BURGUNDY.
The LACERATIONS across his arms are also evident over his
legs, but no where else.
20.
They look characteristically self-inflicted.
His shame and disappointment, as opposed to horror, at the
spectacle hint that this was not a first time occurrence.
He knew the drill: the SCHOOL BUS would be arriving in soon,
and he had plenty of clean LONG-SLEEVED shirts to choose
from.
On his way out, he makes sure to dispose of the sickly TAINTED
LINENS in the GARBAGE.
CUT TO:
EXT. SCHOOL YARD - DAY
A HALF-RAINBOW lords starkly over a WARM SUNSHOWER'S
AFTERMATH. Matthew huddles under a familiar, staunch OAK
TREE, occasional DRIPS of cool RAINWATER bouncing off his
skin. Each bead's bombastic contact seems to enthrall him.
He basks in the spontaneous, privileged moment of
hypersensitivity and calm. Usually, they are mutually
exclusive events.
This time he faces the STUDENTS at recess play, vigilant; no
doubt keen to avoid another abusing.
ESTHER (11, pitch-black hair), catches his gaze from a couple
yards away. She already appears to be contemplating
something.
She decides to make an approach.
(softly)
She's going to laugh at you.
Matthew acts as if he isn't listening.
She's going to hurt you.
But he is listening--he hurries to collect his things.
Stay away from her. Run away from
her.
Too focused on his escape attempt, he fumbles with his
KNAPSACK, drops it, and spills some of the CONTENTS. Among
them is a SCORCHED PIECE OF CONCRETE RUBLE. Before his hand
can snatch it, Esther has it within her grasp.
Matthew snaps to his feet.
21.
ESTHER
Let he who is without sin cast the
first stone.
Smiling, she offers the RUBLE to Matthew.
MATTHEW
Uh...
ESTHER
I'm sorry.
(beat)
I like your rock.
MATTHEW
It's not a rock.
ESTHER
What is it?
MATTHEW
It's concrete.
ESTHER
(in jest)
Concrete? Aren't your textbooks
heavy enough?
MATTHEW
It's- never mind. I- I have to go.
He makes for a breakaway.
ESTHER
Wait! I heard about what happened a
couple nights ago.
MATTHEW
Please. I don't want to talk about
it. I just need toESTHER
(abrupt)
I have it too.
MATTHEW
...Have what?
ESTHER
The thing, you know, when you're
doing something, and then you wake
up somewhere else, and there's a
whole bunch of people around you.
22.
MATTHEW
That happens to you?
ESTHER
(proudly)
Yeah, I'm epileptic!
Esther.
My name's
MATTHEW
Esther.
ESTHER
It's ok I already know your name.
Everyone at school knows who you
are.
Matthew drops his head, flush with shame, but, this time,
with a hint of bashfulness.
ESTHER (CONT'D)
Listen, I want to give you something.
Matthew's guard lifts immediately.
(whispering)
Don't take anything. She's going to
hurt you.
MATTHEW
Oh, uh, no thank you.
ESTHER
No, trust me, it really really helps.
Her persistence, and perhaps a little of her cuteness,
completely dominates him.
She ruffles through her KNAPSACK.
MATTHEW
Nothing can help me, though.
This will.
ESTHER
I promise.
She reveals a three inch, OPAQUE-WHITE ALABASTER ANGEL

STATUETTE. It's a modern interpretation of an angel, bearing
SHIELD AND SWORD. The SHIELD'S FACE and the SWORD'S BLADE
appear to be varnished with some sort of GLOSSY COAT.
It looks nothing short of quintessentially gallant.
Matthew glares at the object with an utmost skepticism.
23.
Esther motions her hand further towards him, and eventually
he relents, receiving THE FIGURINE.
ESTHER (CONT'D)
That's the Archangel Michael.
MATTHEW
Michael?
Yes.
ESTHER
I have one too see.
She ruffles through her KNAPSACK once again and pulls out a
more FEMININE FIGURINE made of the same material.
ESTHER (CONT'D)
This is Mary.
MATTHEW
Mary, like, Mother Mary?
ESTHER
(nodding)
Full of grace.
MATTHEW
Who's Michael?
ESTHER
Oh, you're gonna like Michael.
Michael is the leader of God's angels.
He's a warrior and protector; the
bravest and the strongest.
MATTHEW
Really?
ESTHER
He once defeated The Devil.
MATTHEW
He did?
ESTHER
Mhm.
MATTHEW
(fixated)
Woah.
ESTHER
Ok, so this is what you gotta do:
Keep Michael with you at all times.
(MORE)
24.
ESTHER (CONT'D)
Keep him in your backpack when you
go to school, and put him by your
bedside at night.
MATTHEW
Why?
ESTHER
Because he will stop the thing from
happening(beat)
You know...
Oh, right.
MATTHEW
Wait. He will?
ESTHER
Ever since I got Mary, I started to
feel better. My attacks stopped
happening as much.
(beat)
I have a whole collection now at
home, but, I take Mary with me
everywhere I go.
The RECESS BELL chimes.
ESTHER (CONT'D)
Ugh, the worst sound in the world.
Matthew releases a giggle; it just escapes him somehow, so
naturally.
ESTHER (CONT'D)
Anyway, I'll see you later ok.
MATTHEW
Ok.
She makes for the HORDE.
MATTHEW (CONT'D)
Oh, uh- thank you!
ESTHER
Don't thank me! Thank God!
Matthew contemplates this for a moment, tilting his head to
the SUNBURST SKY.
CUT TO:
25.
INT. KITCHEN TABLE - EVENING
LEAH
(gleeful)
You made a friend?
Matthew is taken aback by the word.
MATTHEW
Well, I wouldn't say friend.
LEAH
Was she friendly?
MATTHEW
Well, yeah.
LEAH
Than she's a friend!
MATTHEW
Mom.
LEAH
What?
MATTHEW
You know what happens(beat)
After people get to know me.
Leah shakes her head in rapid denial.
LEAH
Uh-uh, no, you have it all wrong.
It's because they don't get to know
you well enough.
He's not buying into her platitudes.
can't.
He wants to, but he
He fiddles with an object in his pocket.

MICHAEL.
It's the ARCHANGEL
He places it gently on the table, his mother's eyes following

him like a hawk.
MATTHEW
This is Michael.
LEAH
Oh, it's(beat)
He's beautiful.
26.
MATTHEW
He's a soldier and protector.
bravest and the strongest.
The
LEAH
He looks like an angel.
MATTHEW
Archangel, actually.
LEAH
Did your new friend give that to
you?
MATTHEW
Mhm.
Leah attempts to hold back her excitement. Matthew's peer
interactions are evidently scarce if existent at all.
LEAH
A guardian angel..
boy.
to protect my
Matthew's attention has already begun to drift inwards.

LEAH (CONT'D)
Matthew?
MATTHEW
(abrupt)
Mom, I have a question.
LEAH
(taken aback)
Yes?
MATTHEW
It's about dad.
Leah's gleeful expression drops like an anchor.
LEAH
Sure, honey.
MATTHEW
Was he ever scared(beat)
you know, before he went to work?
LEAH
Of course he was. We both were.
Every single time.
27.
MATTHEW
Really?
LEAH
Terrified.
MATTHEW
(baffled)
I don't understand.
LEAH
Understand what?
MATTHEW
How could a person be so scared and
so brave at the same time?
Leah thinks on this a moment.
LEAH
It's because he was so scared that
he could be so brave. And because
he loved you.
Something within Matthew lifts; something utterly genuine.
Was it pride? Sorrow? Both?
LEAH (CONT'D)
We can't choose what to feel, Matty.
(beat)
We can only choose what to do.
The words strike him, but overcome with embarrassment at the
notion of sharing the emotion, he quickly turns to playing
with his FOOD.
ARCHANGEL MICHAEL stands vigil over the mother and the child.
CUT TO:
Matthew, clad in pajamas, places ARCHANGEL MICHAEL on his
bedside table. He dotes on it for a moment; it does look
pretty awesome.
When he finishes admiring, he slips under the COVERS, creates
a nice airtight tuck (monster prevention and all that), and
lets his eyelids fall, like two autumn leaves.
THE FIGURE (O.S.)
Matthew.
The leaves jolt back to their branches.
28.
MATTHEW
Oh, God.
THE FIGURE
I apologize for what happened the
other night.
The Figure appears to be sitting this time on the edge of
the BED, facing away--vastly less intimidating. It's form,
although wildly energetic and ethereal, is somehow more
humanoid.
THE FIGURE (CONT'D)
I did only what was necessary.
Matthew quickly creates a space between them.
MATTHEW
You hurt me.
THE FIGURE
I hurt us.
MATTHEW
No you didn't. You hurt me.
He rolls up his SLEEVES.
MATTHEW (CONT'D)
Look what you did.
THE FIGURE
I assure you, I took no pleasure in
it.
MATTHEW
I don't know if I believe you.
THE FIGURE
Are you afraid of me?
MATTHEW
No.
THE FIGURE
Do you understand why I did what I
did?
MATTHEW
Yes.
(beat)
But it hurt.
A lot.
29.
THE FIGURE
Sometimes suffering is the necessary
path to revelation.
MATTHEW
I don't want to suffer.
THE FIGURE
No one does.
MATTHEW
Mom and Dr. Janus say I'm sick.
THE FIGURE
Is that what you believe?
MATTHEW
I don't know.
(beat)
What do you believe?
The Figure WEAVES and TWISTS in silence for a moment.
THE FIGURE
I believe that you're special.
Please.
MATTHEW
Don't give me that-
THE FIGURE
I don't have to. I can show you.
MATTHEW
Show me what?
THE FIGURE
I can show you how you're special.
MATTHEW
When?
THE FIGURE
Right now.
MATTHEW
How?
The Figure rises to its feet--or what appear to be feet.
SLENDER ARM uncoils grotesquely out.
THE FIGURE
Follow me.
(MORE)
30.
THE FIGURE (CONT'D)
(beat)
Please.
CUT TO:
EXT. THE STREET - NIGHT
From across a BARREN STREET, Matthew and The Figure gaze up
at a 20-STOREY APARTMENT BUILDING.
MATTHEW
What's up there?
The Figure remains silent, ominous, for a moment.
THE FIGURE
Nothing, yet.
MATTHEW
I better not get in trouble for this.
THE FIGURE
You won't.
MATTHEW
(anxious)
Well, what are we waiting for?
THE FIGURE
Have you ever heard the story of
Icarus, Matthew?
Um..
MATTHEW
I think so.
THE FIGURE
Well it's a rather simple story,
really. Allow me to refresh your
memory while we watch.
MATTHEW
Watch what?
As if on cue, an ASH-DARK PLUME begins to roll out a WINDOW
about the 15TH FLOOR.
THE FIGURE
Icarus wanted to fly. Well, actually,
he wanted to escape.
Matthew squints his eyes at the spectacle.
MATTHEW
Do you see that?
31.
THE FIGURE
But Icarus was only a man.
The SMOKE HASTENS and THICKENS.
MATTHEW
I think someone might be in trouble
up there.
THE FIGURE
So Icarus had his father, Daedalus,
craft him wings of wax.
MATTHEW
I should call 911...
Again, as if oddly on cue, the crescendoing CAW of emergency
sirens blare through the city-scape.
THE FIGURE
Daedalus had one simple warning for
his son...
Matthew backtracks flush to the BUILDING behind him, rapidly
scanning for the cavalry to arrive.
THE FIGURE (CONT'D)
"Follow my path," he said, "All you
need do is follow my path."
The FIRETRUCKS arrive from all directions. One is equipped
with an EXTENDIBLE LADDER, the big kind. It aligns itself
parallel to the now SMOKING BUILDING.
The noise of SIRENS becomes atrociously penetrative as the
VEHICLES assemble. Matthew is forced to cover his ears with
his palms.
THE FIGURE (V.O.) (CONT'D)
So Icarus equips his father's
invention, and charts a course.
A figure emerges from the CHARCOAL VAPORS about FLOOR 15,
waving both arms in obvious distress. The LADDER begins to
extend and ascend with a FIREFIGHTER already at the highest
rung.
As a reflex, Matthew lifts his hand off his right ear to
point upwards.
MATTHEW
(shouting)
Someone's up there!
32.
MATTHEW'S P.O.V. - CONTINUOUS
The heavy noise blasting into one ear is like a PHYSICAL
PUNCH to the jaw; it sets Matthew off balance, his field of
view TEETERING to and fro. The SIRENS form an audibly
nauseating DOPPLER EFFECT as they bounce off the BUILDINGS.
BACK TO SCENE
THE FIGURE (V.O.)
And when the time is right, the man
takes flight--nothing but sky above
and ocean below.
As in "The Creation of Adam", arms outstretched, the
FIREFIGHTER and the IMPERILED CITIZEN are within fingers
reach of each other. Meanwhile RESIDENTS flee out the LOBBY,
PANIC and SCREAMING abound.
Matthew's perspective reorients.
But something comes over him-- the
ability to soar, the wind in his
hair--he finds himself feeling
(beat)
Godly.
The FIREFIGHTER signals to raise the LADDER with a THUMBS
UP.
Suddenly, five floors below, a FLAME eases itself insidiously
out an OPEN WINDOW. It proceeds to LICK at a lower section
of the LADDER.
How high can a god fly, Matthew? To
Heaven, surely? Our hero was keen
to find out.
The FIREFIGHTER grabs the CITIZEN and yanks him off, securing
him clumsily, but safely, onto the LADDER.
Five floors below, the FLAMES lap on and intensify, and begin
to change the whiteness of the LADDER-SECTION to a DIM RED.
MATTHEW
(exhilarated)
He's got him! He saved him!
THE FIGURE (V.O.)
Now you see the problem with wax is
that, well, it melts, under fire of
course.
33.
The FIREFIGHTER signals to his men to lower the contraption
with a THUMBS DOWN.
Suddenly, a shrill metallic GROAN orders the chaotic air.
Matthew's expression hints that he can seem to hear it despite
covering his ears.
MATTHEW
No..
THE FIGURE
And there happened to be quite a
fire in the sky that day. A perfectly
cloudless day.
MATTHEW
Something's wrong!
The FIREFIGHTER'S THUMBS DOWN motion becomes more frantic,
but the LADDER can't de-extend. The mechanics are jammed at
some point below.
THE FIGURE
And as you can imagine, those
beautiful wax wings melted right
off.
To the horror of everyone below, the LADDER begins to buckle.
MATTHEW
(horrified)
No!
THE FIGURE (V.O.)
And poor Icarus plummeted right into
the sea.
The ladder snaps with a horrendous CRACK, sending both the
UPPER-LADDER, the FIREFIGHTER, and the CITIZEN on a 15-storey
plunge to a CONCRETE DEATH.
Matthew whips his head away just at the moment of impact.
MATTHEW'S P.O.V. - CONTINUOUS
Slow-motion PANTING from inside a tone-muffled soundscape.
SCREAMING, SIRENS, ASH, SOOT, and HEAT.
The Figure is now clearly facing, and, somehow, staring at
Matthew.
34.
(warped)
Now, Matthew, what do you think is
the moral of that story?
BACK TO SCENE
MATTHEW
You're a monster!
Matthew breaks off into a dash, face spotted with SOOT. His
FREAKISH FAMILIAR stays put, watching, as falling ASH phases
directly through it, like APOCALYPTIC RAIN.
CUT TO:
INT. MATTHEW'S LIVING ROOM - NIGHT
Matthew bursts through the FRONT DOOR. The VOICES are alive
and brutal.
UNKNOWN LEGION
Coward! Just run away! Run away
from everything! You coward, Matthew.
Pathetic.
MATTHEW
(screaming)
Shut the hell up!
Leah is already there.
LEAH
Matthew what's wrong?
What happened?
MATTHEW
Mom.
He breaks down into his mother's arms, sobbing.
LEAH
Are you hurt?
He can't answer, the sobs fill his throat, contort his lips,
stale his tongue.
LEAH (CONT'D)
Matthew, what happened?
She pulls his face up and notices it's covered in SOOT, and
his hair is riddled with ASH.
LEAH (CONT'D)
Where were you?
35.
MATTHEW
(traumatized)
I saw- there was fire- they fell.
They both died.
Who died?
LEAH
Where was the fire?
MATTHEW
Outside.
She makes a move to the FRONT DOOR, still grasping her son
tightly.
A LARGE SMOKE PLUME fans out over the SKYLINE shielding and
unshielding the MOON, creating an eery STROBE-LIKE EFFECT.
Leah breaks down into tears.
LEAH
Oh, Matty. Thank god you're safe.
(beat)
What the hell were you doing out
there in the middle of the night?
He couldn't even lie if he remembered he was supposed to.
That's what shock does, apparently.
MATTHEW
The Figure led me there.
LEAH
You mean the sirens?
MATTHEW
No, The Figure. Sometimes it visits
me, and takes me places--shows me
things. I followed it to the fire
before the smoke even started.
LEAH
Matty, that's impossible.
MATTHEW
(scorned)
It's not! I'm not lying! It promised
it'd show me how I was special.
LEAH
Matthew, you're not making any sense.
He looks up into his mother's eye, TEARS flowing like an
open gash. He looks... terrified, sincerely terrified; and
for the first time, he is sharing the emotion with another
human being.
36.
LEAH (CONT'D)
Oh, god, Sweety, let me wash your
face.
Emotionally fatigued, they both stumble, latched together,
to the BATHROOM.
LEAH (CONT'D)
You're going to sleep in my room
tonight, ok?
MATTHEW
(sniffling)
...ok.
CUT TO:
EXT. SCHOOL YARD - DAY
Esther and Matthew munch on SANDWICHES together, backs against
the familiar OAK. The TREE'S distance from the ARTIFICIAL
PLAY-STRUCTURES make it an EDEN of some sort--a sweet refuge
for the introverts. Something noticeably COLORFUL is
beginning to bloom from its broad-swept BRANCHES.
MATTHEW
So he actually lived inside the fish
for three days?
Leviathan.
ESTHER
And yes.
MATTHEW
But that's impossible. There wouldn't
have been enough oxygen. The stomach
acid would have burned him.
ESTHER
Yes, true, but, this was a leviathan.
It was, like, huge. Like huuuuge.
Bigger than anything you can imagine.
Like...
MATTHEW
(smiling)
Huge?
Esther giggles.
ESTHER
Yes. There could have been whole
shipwrecks inside of there.
37.
MATTHEW
So what happened to all of these
"leviathans"?
ESTHER
Hmm. I don't really know to be
honest. Maybe they died off like
the dinosaurs.
(beat)
But you're thinking too much into
it.
MATTHEW
I am?
ESTHER
It's about the moral of the story.
Matthew pulls his knees to his chest; the word noticeably
disturbs him.
MATTHEW
What's the moral?
ESTHER
Well you see: Jonah took to the sea
to escape his duty.
MATTHEW
Because he was afraid.
ESTHER
Exactly. But, when he should have
drowned after being thrown off the
ship, he was rescued instead.
MATTHEW
By the leviathan?
ESTHER
By God.
MATTHEW
But(beat)
Why?
ESTHER
Because everyone deserves a second
chance.
(beat)
Because how can we learn from the
mistakes that we don't make?
Matthew mulls this over deeply.
38.
MATTHEW
It was a lesson. Not a test.
ESTHER
Exactly. The lesson has to come
before the test; not the other way
around.
MATTHEW
Or else you get an F.
Esther laughs.
together.
It's infectious, and soon they're laughing

ESTHER
Matthew?
MATTHEW
Yeah?
ESTHER
Do you have him with you?
Matthew looks confused for moment, until it clicks like a
light switch. He reaches into his KNAPSACK to reveal the
ARCHANGEL MICHAEL.
ESTHER (CONT'D)
Have you noticed any changes?
MATTHEW
Well, I haven't had any..
(beat)
"attacks" since I got him.
Esther cups her hand over the top of Matthew's, THE FIGURINE
sandwiched inbetween.
ESTHER
Good.
Matthew's entire body stiffens.
He pulls the figurine away.
MATTHEW
(stammering)
I- I shouldESTHER
Come over to my place this weekend?
MATTHEW
What?
ESTHER
I want to show you my collection.
39.
MATTHEW
Really?
ESTHER
Really. You'll love it, I think.
Each one has a special story.
MATTHEW
That sounds... cool.
ESTHER
Cool as ice.
MATTHEW
Huh?
ESTHER
(gesturing)
Look that way!
Matthew takes the bait. Esther swiftly reaches into her
LUNCHBAG, pulls out an ICE GEL PACK, and slips it down the
neck of Matthew's SHIRT.
He flinches from the shock, but it quickly dissolves into a
smile. Ice is... kinder than fire.
MATTHEW
(playful)
Hey!
Fumbling through his SHIRT, he rips out the PACK and proceeds
to chase a giggling Esther with it, their footsteps carving
an ENTWINING WAKE in the TALL SUMMER GRASS.
CUT TO:
Matthew is wide awake, on two feet, leaning against the wall
of his bedroom. In his hand, he white-knuckle clutches the
ARCHANGEL MICHAEL. He's waiting for someone--something.
There's a DRIP from the ceiling. It's viscous, like HOT
TAR. The DRIP heightens in frequency until it's SPEWING
like a broken-pipe, conglomerating in a contained PUDDLE on
the ground. A form begins to ASCEND and simultaneously
INCARNATE from the PUDDLE: The Figure.
Matthew leers into the SILENT HAZE for what seems like an
eternity. It somehow always forces him to speak first.
MATTHEW
You're a monster.
40.
The Figure, more humanoid than ever before, tilts its head
in response.
MATTHEW (CONT'D)
(louder)
You're a monster.
THE FIGURE
Is that how you thank a friend?
MATTHEW
(incredulous)
Thank you? For what?
THE FIGURE
Don't ask questions you already know
the answers to.
MATTHEW
You brought me too late. I could've
called 911 before the smoke. I
could've saved their lives.
THE FIGURE
You could have.
(beat)
Why didn't you?
Yes.
MATTHEW
Because you wanted me to watch!
THE FIGURE
You're speaking to a mirror, Matthew.
MATTHEW
You are not me. And I never wanted
to watch.
THE FIGURE
You couldn't do anything but watch..
MATTHEW
That's not true..
THE FIGURE
Because you have too much fear inside.
(beat)
Because you're a coward.
MATTHEW
(softer)
It's ok to be afraid.
THE FIGURE
Is it?
41.
MATTHEW
Yes.
THE FIGURE
What would your father think if he
heard you say that?
Matthew winces from the sting...
MATTHEW
I think- I thinkTHE FIGURE
Yes?
but remembers something, and recovers.
MATTHEW
I think he would understand.
The Figure's FLOWING FORM seems to ACCELERATE, as if provoked.
A staring contest ensues; this time, however, Matthew does
not balk--not even a blink, his mouth grimacing.
THE FIGURE
You told her about us.
No.
MATTHEW
I told her about you.
THE FIGURE
You really don't believe we're one.
Where do you think it is I come from?
Heaven?
MATTHEW
More like Hell.
THE FIGURE
Wrong on both accounts.
MATTHEW
You don't frighten me.
Oh, Matthew.
THE FIGURE
I terrify you.
It's true, and Matthew's facade can't hold much longer.

hand grasping the FIGURINE, however, can.
MATTHEW
Get it over with already.
THE FIGURE
I am truly sorry for this.
His
42.
TWO SPINDLY LIMBS-- the CLAWS--fold out at a horrifically
prolonged pace. They look sharper, longer, more grotesque.
The Figure winds up for a brutal slash.
Matthew slams his eyes shut.
SHING! A shrill METAL-ON-METAL CLASH ricochets throughout
the room.
THE FIGURE (CONT'D)
Impossible...
Matthew opens his eyes.
him.
An emboldened astonishment overcomes
The back of a two-foot tall KITE SHIELD hovers in the air.

The STRAPS begin to WIGGLE; WISPS OF LIGHT dance between
them. The air between him and the SHIELD starts to RIPPLE
and VIBRATE. A HUMAN LEFT-ARM materializes from the LIGHT
within the STRAPS; fist clenched. Piece by piece, LIGHT
cauterizes each seam, and cools. A BICEP, A SHOULDER, A
HEAD, THE BACK OF A STEEL BREAST PLATE, STRAPS, A TUNIC,
SHIN-HIGH WRAPPED SANDALS... FOLDED FEATHERED WINGS.
Out of the RIGHT HAND, a SHIMMERING LONGSWORD sprouts upwards
from the HILT--it's edge gilded with what seems to be PURE
LIGHT.
MATTHEW
Michael?
MICHAEL wastes no time. He counter-attacks with a vertical
slash, catching The Figure dumbstruck and slicing off its
left arm. It releases a CACOPHONOUS SHRIEK, but regrows the
LIMB with supernatural haste. It slashes horizontally back
with a WICKED CLAW. Michael evades the swipe with a sideways
leap, and ripostes, piercing The Figure up near its shoulder.
It relinquishes a second unholy SHRIEK, wrenching backwards,
and knocking over a BOOKSHELF. Furious, The Figure lunges
at Michael with its whole self, taking the form of a MANEDLION in mid-lunge. Michael raises his SHIELD to defend, and
takes the blow, sending him stumbling back into Matthew's
COMPUTER MONITOR. The screen SHATTERS. Michael swiftly
regains composure, and with The Figure on the ground
struggling for four-legged footing, he thrusts down, twohanded, with a vicious impale. The Figure, suddenly a black
CROCODILE, deathrolls to evade the pierce, and in doing so
bumps heavily into a PEDESTAL raising a small TELEVISION
SET. The TELEVISION teeters back and forth for an anxious
moment before plummeting to the ground with a SMASH.
LEAH throws open the BEDROOM DOOR with such force that the
HANDLE punches a HOLE in the wall. She whips the LIGHT SWITCH
on.
43.
There, in the center of the WRECKED ROOM, stands only Matthew,
a BLOOD-DRIPPING FIST by his left side.
LEAH
Matthew, your hand!
do?
What did you
He's speechless.
Leah notices the cracked COMPUTER MONITOR, then the SHARDS
OF GLASS embedded in her son's left hand.
LEAH (CONT'D)
We need to take you to the hospital.
MATTHEW
No.
LEAH
Yes, right now. You're cut deep.
No, mom.
MATTHEW
I'm fine.
LEAH
You are not fine.
(gesturing)
Look!
(beat)
Were going to hospital right now.
Matthew glances down at his embattled knuckles. They really
are bleeding badly, but the pain is somehow absent. Shock
does that to a person, apparently.
MATTHEW
Oh.
Leah breaks into sobbing as she embraces her child.
LEAH
Oh, Matty. Why? Why would you do
this to yourself?
MATTHEW
I- I(beat)
I'm sorry, mom.
LEAH
Sweetheart. We're going to fix this,
I promise.
(beat)
Come on, we need to wrap up your
hand.
44.
MATTHEW
Ok, mom.
(beat)
I love you.
Leah breaks completely down.
LEAH
I love you too, Matty.
too.
I love you
CUT TO:
INT. PSYCHIATRIST'S OFFICE - MORNING

Matthew sits face-to-face with his doctor. Something about
him is different--less inhibited. He's able to sustain eye
contact for longer; his body language seems less guarded and
less lethargic.
DR. JANUS
That's quite a boo-boo you've
sustained there.
He tucks his BANDAGED hand under the other and nods.
DR. JANUS (CONT'D)
Your mother told me about last night.
She's very worried about you.
MATTHEW
I'm ok. Really.
DR. JANUS
Do you want to talk about it?
No.
MATTHEW
I'm sorry.
DR. JANUS
That's ok.
(beat)
What would you like to talk about?
Matthew muses on this a moment, his head turned to the
SUNBEAMS flickering through the BLINDS.
MATTHEW
Do you believe in God, Dr. Janus?
DR. JANUS
(frank)
No, I don't.
45.
MATTHEW
Oh.
DR. JANUS
My mother did, though.
MATTHEW
She did?
Oh, yes.
DR. JANUS
Very much so.
MATTHEW
What was she like?
DR. JANUS
She was stubborn, but very caring.
MATTHEW
How was she stubborn?
DR. JANUS
Well, she got cancer. Lymphoma.
And, she refused to get treatment
for it.
MATTHEW
Why?
DR. JANUS
She would say that if God deemed it
was her time to go, then why fight
it.
MATTHEW
She didn't want to live?
DR. JANUS
Oh, she did. She just wasn't afraid
to die. She believed that she was
going to a better place.
MATTHEW
And?
DR. JANUS
And... I said goodbye to my mother
months- maybe years before I had to.
MATTHEW
...I'm sorry.
DR. JANUS
Oh, that's ok.
46.
MATTHEW
I know what it's like to lose a
parent.
DR. JANUS
You do.
(beat)
Do you believe your father's in a
better place?
MATTHEW
No.
DR. JANUS
Why's that?
MATTHEW
How could there be a better place
than with me and my mom?
Something like frustration raises the tone of Matthew's voice.
Real frustration, and he can express it.
MATTHEW (CONT'D)
Holding her at night; telling me
stories before bed
(beat)
How could there be a better place
than that?
DR. JANUS
That's a fair point. So you don't
believe in God then.
He waits to compose an articulate answer.
MATTHEW
Why would I want to believe in
something that makes people ok with
dying?
Dr. Janus smiles.
MATTHEW (CONT'D)
What?
DR. JANUS
You're an intelligent young man, you
know that, Matthew?
That one catches him completely off-guard.
MATTHEW
Uh- I- but I'm sick.
47.
DR. JANUS
They're not mutually exclusive traits.
MATTHEW
What does that mean?
DR. JANUS
It means that you can be both at
once. In fact, quite a few people
are.
MATTHEW
There are more people like me?
DR. JANUS
Tons. And none. One day you'll
realize what makes you you.
MATTHEW
When will that be?
DR. JANUS
It could be in 10 years. It could
be tomorrow.
(beat)
Different people heal at different
rates.
He briefly glances down at his BANDAGED hand.
MATTHEW
I want to heal fast.
DR. JANUS
Something tells me you just might.
Matthew's face brightens.
DR. JANUS (CONT'D)
But for now, try to throw your fist
into less breakable things.
A full-blown laugh escapes him.
Dr. Janus smiles back.
DR. JANUS (CONT'D)

Deal?
MATTHEW
Deal.
CUT TO:
48.
INT. ESTHER'S ROOM - DAY
Matthew and Esther sit face to face, legs crossed, two
ALABASTER FIGURINES in front of them. One, a SMALL BOY, and
the other, a BROAD SHOULDERED BRUTE clad in ARMOR, at least
three times the size. Matthew has the BRUTE on his side.
Esther swings her hand as if wielding an invisible lasso.
ESTHER
(mouthing the sound
effect)
And he went like this.
(beat)
And release!
She knocks back the GOLIATH with a flick of her finger to
the forehead.
MATTHEW
Ouch.
ESTHER
Imbedded the rock right into his
skull.
MATTHEW
No way..
ESTHER
(playful)
What?
MATTHEW
How could a teeny tiny rock take
down this guy?
ESTHER
A really good shot, I guess.
MATTHEW
But a human skull cracks.
stuff a rock into it.
You can't
Esther grasps for an explanation.

ESTHER
Maybe he got him right through the
ear.
They both share a laugh.
ESTHER (CONT'D)
Can I tell you a secret, Matthew?
49.
MATTHEW
Sure.
ESTHER
I don't believe all the stories are
true.
MATTHEW
What?
ESTHER
I don't even believe half of them
are true.
MATTHEW
But- youESTHER
Ok. Actually. Don't tell my mom and
dad this, ok? Promise?
MATTHEW
Promise.
ESTHER
I don't really believe any of them
happened at all..
MATTHEW
(stammering)
But- you're always- telling me stories
aboutESTHER
(abrupt)
That's what I love! The stories.
The monsters, the magic, the miracles!
The angels and the demons.
(beat)
Especially the ones where the angels
win.
Matthew frowns deeply at this.
He looks slightly deceived.
MATTHEW
Well you're wrong, you know.
least about one angel.
ESTHER
Oh, yeah?
MATTHEW
Yeah.
Matthew brushes GOLIATH aside.
At
50.
MATTHEW (CONT'D)
Can I tell you a secret?
ESTHER
Of course.
And places ARCHANGEL MICHAEL on the battlefield.
MATTHEW
This one's real. I saw him last
night.
ESTHER
...bullshit.
MATTHEW
Cross my heart and swear to God.
Matthew gets to his feet, and takes a battle stance. He
mimes a shield in his left hand, and uses ARCHANGEL MICHAEL
as a sword in his right.
MATTHEW (CONT'D)
He was like this..
Matthew slashes the air with his "sword".
on, enthralled.
Esther watches
The FIGURINE'S GLOSSY SHIELD and BLADE flickers LIGHT about

the room when the angle allows.
Matthew parries an invisible blow; blocks another with his
air-shield. Soon he loses all inhibition and stages an entire
play fight with the air, mouthing all the noises.
He turns back to Esther, panting, excited, gleeful.
But something's off.
Her expression is frozen forward.

MATTHEW (CONT'D)
Esther?
She falls back into a viscous convulsion--not like Matthew's,
but much more violent.
MATTHEW (CONT'D)
Esther!
Matthew rushes to her side.
back into her head.
Esther!
He notices her eyes have rolled
MATTHEW (CONT'D)
Help! Someone help!
51.
Her FATHER bursts through the door and straddles his daughter,
shoving Matthew aside in the rush. He has a TOOL already in
hand, and places it in her mouth, pinning her arm to the
floor with his free hand.
Her MOTHER rushes in as well and locks her knees to the
ground.
Her limbs twitch wildly; her trunk thrusts up and down despite
her Father's pressure.
She looks like a possessed soul--not Esther.
Her Father swiftly dives into a DIREFUL CHANT, while Matthew
looks on in horror.
FATHER
Our Father in heaven, hallowed be
thy name. Your kingdom come, your
will be done, on earth, as it is in
heaven. Give us this day our daily
bread, and forgive us our debts as
we also have forgiven our debtors.
And lead us not into temptation, but
deliver us from evil.
Run! Get out of there! Run away!
Run, now!
Esther's Mother picks up the CHANT as her daughter writhes
spastically on the floor, knocking ALABASTER FIGURINES every
which way.
MOTHER
The Lord is my shepherd; I shall not
want. He maketh me to lie down in
green pastures: he leadeth me beside
still waters. He restoreth my soul:
he leadeth me in the paths of
righteousness for his name's sake.
Go!

Run, Matthew! Go, now!
MOTHER
Yea, though I walk through the valley
of the shadow of death, I shall fear
no evil.
Matthew bolts out the room, out the FRONT DOOR, and down the
STREET, as fast and as far as he can.
THE VOICES are heavily in tow.
52.
After three blocks of dashing, out of breath, he spots a
CHAPEL and explodes through the DOOR.
CUT TO:
INT. CHURCH - DAY
Matthew's blunt beeline to the alter QUAKES the calm, VACUOUS
INTERIOR. STAINED GLASS HEROES AND VILLAINS watch in silence.
The ambient voices seem to have quelled to an absolute silence
at this point.
Matthew, knelt and frantic, lays his right hand over his
BANDAGED one, directly over the FRONTMOST BANISTER.
Please.
Please.
MATTHEW
Please. Don't let her die.
A SPRAWLED MAN FIGURE looms solemnly over the ALTER, both

palms and feet pinned to two CROSSED STICKS--his expression,
ghastly.
MATTHEW (CONT'D)
I'll do anything. Please. Please.
Just let her live. Please.
A BLACK-CLAD, WHITE COLLARED PRIEST shuffles out from a DOOR
behind the ALTER. He looks to be in his late 80's, at least.
PRIEST
Child! What in Heavens seems to be
troubling you?
Matthew takes no notice, and continues the frantic plea.
PRIEST (CONT'D)
Child, please.
Matthew swings his attention to the decrepit man.
MATTHEW
My friend- she's having an attackI'm scared she's going to die.
PRIEST
Where is she at this moment?
MATTHEW
She's with her parents. She's
epileptic. She started shaking andand- oh please, oh please...
The Priest calms slightly.
53.
PRIEST
So she is in safe hands.
TEARS find their way through the creases of Matthew's poor
eyes.
MATTHEW
I don't want her to die.
god.
Oh god, oh
PRIEST
Heavens, child. Take a seat, please,
before we both have a heart attack.
The Priest leads him to the FRONT PEW.
calm.
They sit as the ECHOES
PRIEST (CONT'D)
Take my hand.
Matthew is apprehensive, of course. Any contact--especially
skin contact--would normally terrify him. But dire times
call for dire measures. He finds the strength within, and
takes the ancient man's SUN-SPOTTED hand.
PRIEST (CONT'D)
I shall pray for her.
The Priest closes his eyes, and seems to instantly enter
some sort of trance. He begins a steady RHYTHMED CHANT under
his breath: ancient words, thousand-time-uttered words.
Matthew watches and mimics to the best of his ability.
Opening his eyes only to gaze up nervously at the MAN ON THE
STICKS.
A long, intense silence ensues, as the Priest's CHANT shifts
to an internal one.
Then, with a deep inhale, the Father opens his eyes.
MATTHEW
I need to- do you have a phone?
need to call my mom.
PRIEST
Hmm?
The Priest appears slightly confused, as if he'd just been
somewhere far away, where the word "phone" made little sense.
MATTHEW
A phone(beat)
Please.
54.
PRIEST
Oh, my, of course.
The Priest shuffles through one of his many pockets, and
pulls out a paradoxically high-tech CELLULAR GADGET.
PRIEST (CONT'D)
The Lord works in mysterious ways..
He hands THE GADGET to Matthew with a warm smile.
PRIEST (CONT'D)
Cellular phones: even more mysterious.
Not to Matthew though; he navigates through the interface
with a swift grace. The PHONE DIALS.
MATTHEW
(to the phone)
Yes.
(beat)
Yes.
(beat)
In a church.
(beat)
Yes.
(pause)
His eyes dart.
MATTHEW (CONT'D)
(enlivened)
She is?
An autonomic sigh launches itself from Matthew's diaphragm

and out exasperated, parted lips.
MATTHEW (CONT'D)
Ok.
*
(beat)
Yes.
(beat)
Oh, um..
He looks to the Priest.
MATTHEW (CONT'D)
What's the name of this church?
PRIEST
(proudly)
Ah. St. Matthew's Catholic Cathedral.
MATTHEW
Saint- wait, really?
55.
PRIEST
Truly.
MATTHEW
(back to the phone)
St. Matthew's Catholic Cathedral.
(beat)
Ok.
(beat)
I love you too.
(beat)
Ok.
(beat)
Bye.
He hands the PHONE back to the Priest, his body and mind
emotionally sapped. He drifts into a slouch, as if he were
alone, allowing his eyelids to hover at their own behest.
PRIEST
Good news, I pray?
MATTHEW
That was my mom. Ester's parents
called her to tell me that she's ok.
(beat)
My mom's coming to pick me up soon.
A warmth seems to engulf the Priest's entire body.
in it.
PRIEST
(to the alter)
The lord is merciful.
(beat)
Uh, Esther you said your friend's
name was.
Um.
MATTHEW
Yes... Sir.
PRIEST
A beautiful name.
MATTHEW
She's my best friend.
PRIEST
You are blessed, child.
MATTHEW
I- I am?
He basks
56.
PRIEST
Not many souls have the privilege of
best friends. Many have no friends
whatsoever, save the Lord.
MATTHEW
Thank you.
PRIEST
Hmm?
MATTHEW
For the phone.
PRIEST
Oh, my, you're welcome child.
ANGLE ON:
The MAN ON THE STICKS seems to draw the extended gaze of
both Matthew and the Priest. Perhaps, it's the FIGURE'S
contrived architectural centrality, or perhaps the
organization of the windows channeling some sort of SUBLIME
ILLUMINATION about the figure. Or both. Or neither.
MATTHEW
(pointing)
What was he like.
Hmm?
PRIEST
Ah, Him.
The Priest mulls on this a moment with the faintest of smiles.

PRIEST (CONT'D)
He was a good son.
MATTHEW
I've heard that he had super powers.
The Priest releases a hearty laugh, which turns into a small
coughing fit.
Yes.
Yes,
PRIEST
powers of a sort, surely.
MATTHEW
He could see the future sometimes?
PRIEST
Mmm. From the day he was born he
knew his purpose.
(beat)
And he knew his fate.
57.
MATTHEW
He knew that... he was going to end
up..
(beat)
Like that?
PRIEST
Indeed.
MATTHEW
Why didn't he do anything to change
it? Was he afraid?
PRIEST
Hmm.
(beat)
As to his fear, it seems...
uncharacteristic of the man. I'm
sure if he felt frightened, it was
certainly overpowered by other
emotions.
MATTHEW
Like what?
PRIEST
Mmm, duty, perhaps. Responsibility.
(pause)
This, as you know from your, uh,
"super heroes" I'm sure, comes with
great power.
These words strike Matthew; he clenches his jaw.
MATTHEW
I still don't understand why he
couldn't change his fate, then.
PRIEST
He could've. But he, mmm..
(beat)
chose not to.
MATTHEW
But why?
PRIEST
To teach, I believe. To help mankind
learn a very important lesson.
MATTHEW
What lesson was that?
58.
PRIEST
Mmm, perhaps.. that all actions
must have their consequences.
Matthew shifts uneasily; he's heard these words before.
MATTHEW
I would've changed my fate.
PRIEST
(smiling)
Mmm, is that so?
MATTHEW
So I could live on, and save more
lives.
PRIEST
That is an interesting thought, child.
(beat)
But, who is to say what can save
more lives: a man with a gift, or a
martyr with a lesson.
The words set Matthew's mind ablaze with contemplation, and
his eye's rapid saccades affirm it.
Leah opens the ENTRANCE DOOR, and immediately catches sight
of her child. Both her and Matthew make a simultaneous dash
towards each other, and embrace in the middle.
The Priest, in the background, smiles, an utter peace about
every modicum of his being.
CUT TO:
EXT. MATTHEW'S BEDROOM - NIGHT
GALLANT VOICE (O.S.)
Matthew.
MATTHEW
(coming to)
No..
GALLANT VOICE (O.S.)
Matthew, rise.
It's Michael.
And The Figure is... completely absent.

MATTHEW
Michael!
Despite the WINGS, Michael's presence is more earthly than
The Figure's ever could be.
59.
He speaks with a COMMON MAN'S VOICE infused with an air of
chivalry.
Shh, shh.
MICHAEL
You might wake your mother.
MATTHEW
You saved me the other night.
MICHAEL
You saved you.
The comment leaves Matthew speechless for a moment.
MATTHEW
No, I- I saw you fight.
anything.
I didn't do
MICHAEL
(warmly)
Your hand may tell a different tale.
Matthew glances down at the BLOOD-STAINED BANDAGES.
MICHAEL (CONT'D)
I'm sorry to interrupt your slumber,
Matthew. But something important is
about to happen.
MATTHEW
What?
MICHAEL
I can only show you. I will lead
you.
(beat)
You have to trust me.
Michael lends out an arm, his SWORD sheathed to his side.
Matthew is apprehensive, of course.
MATTHEW
I'm scared
(beat)
To go out again.
MICHAEL
As am I.
(beat)
But time is short.
MATTHEW
Will you stay with me?
But... this is Michael.
60.
MICHAEL
Take the statue, and I will never
abandon you.
Matthew complies with haste, stuffing ARCHANGEL MICHAEL into
his pajama pocket, and concurrently taking his valiant
companion's hand.
CUT TO:
EXT. DIRT ROAD - NIGHT
MATTHEW
We're so far from home.
I know.
MICHAEL
But, we're close.
Matthew tails the staunch, feathered knight, scanning the

landscape like an anxious squirrel.
MICHAEL (CONT'D)
Can you smell it yet?
MATTHEW
I- I smell everything.
MICHAEL
Yes, but what about that.
It somehow becomes clear right then.
up.
Matthew's eyes light
MATTHEW
(perturbed)
Yes.
(beat)
Michael- I- I don't like that smell.
MICHAEL
It's all right. Not many do.
Matthew squints at something in the near distance; a BLACK
MASS of some sort. As they approach, it becomes clear: AN
ADULT DEER CARCASS lay in the middle of the road.
MATTHEW
It's dead.
MICHAEL
Yes.
Matthew begins to backtrack.
61.
MATTHEW
I think I'm going to be sick.
(beat)
This was a bad idea, we should go
home. I really think we shouldMICHAEL
Wait. Please. Before we go, I need
to tell you something.
Matthew starts to shiver, from the cold--the fear.
MICHAEL (CONT'D)
In less than five minutes a car will
come barreling down this road. The
driver will be intoxicated. He will
not be able to react in time. His
vehicle will hit the animal, roll,
(motioning)
twist around that tree, and trap him
inside.
Matthew stammers but no words come out.
MICHAEL (CONT'D)
The car will burst into flames and
incinerate the man alive.
MATTHEW
(becoming frantic)
Why did you take me here?
MICHAEL
Because you can save him.
MATTHEW
I can?
MICHAEL
Yes. But you have to act.
to pull it off the path.
You have
MATTHEW
I- I can't.
MICHAEL
Yes, you can.
MATTHEW
(shaking)
I'm scared.
The WIND picks up, and with it a SWARM of what appears to be
SCARABS twists TORNADICALLY next to Michael. It takes form,
a CHAOTIC HUMANOID FORM: The Figure.
62.
Michael heeds it no attention; his focus is utterly
undividedly on Matthew.
The Figure remains silent.
I know.
MICHAEL
Use it.
Matthew's mind becomes a torrent of cause-and-effect; his

eyes dart from THE DEER, to Michael, to The Figure, to THE
SKY, to THE ROAD, and back to THE DEER.
MICHAEL (CONT'D)
Quickly!
He makes a first bold step towards THE CARCASS.
MATTHEW
Ugh, it smells so bad.
MICHAEL
I know it does. Push through it.
He takes another couple steps, until he is within feet of
the ROTTING BEAST.
THE FIGURE
Smells a little like your third grade
teacher, doesn't it?
He freezes.
Paralyzed.
Michael now turns to The Figure, and The Figure, likewise.

Standoff.
THE FIGURE (CONT'D)
Do you remember Matthew, do you
remember what she looked like, just
floatingBOOM!
face.
Michael sends a wicked SHIELD BASH into The Figure's
The Figure spits out a HANDFUL OF BLACK TEETH, which dissolve

as they hit the ground.
Suddenly, a full-on brawl erupts. THE SHADOW and WINGED
KNIGHT trade blows: ducking, dodging, blocking, stabbing,
slashing.
Matthew's attention is lured to the melee.
MICHAEL
(struggling)
Focus on your task, Matthew!
63.
Matthew wraps his good hand around a HIND HOOF, and pulls
with all his might. Nothing.
THE FIGURE
It's too heavy for you.
Michael slashes vertically, but The Figure catches the blade
between his hands, mid-air.
THE FIGURE (CONT'D)
Some burdens are too heavy to bear.
Swiftly, Michael reverses his grip and launches the HILT of
his SWORD forward, like a lever, directly into The Figure's
face. It releases a SHRIEK.
MICHAEL
Both hands, Matthew!
Hurry!
Matthew wraps his BANDAGED hand around THE DEER'S other HINDHOOF. He winces from the sheer pain.
Suddenly, out of the OFF-ROAD BLACKNESS, The Figure, a
tremendous BLACK BOA CONSTRICTOR, lunges at Michael's torso,
twisting around it with ungodly speed. He GROANS under the
anguish of the asphyxiating compression.
Agh!
MATTHEW
It hurts!
MICHAEL
(struggling)
Use it! Pull! Pull with all your
streMichael is cut off by a SCALY VICE now at his neck.
Matthew SCREAMS in agony and effort. THE DEER slides two
inches. Michael struggles under the grip of the demon binding
and engulfing him. Matthew SCREAMS again, the DEER moves
six more inches.
MICHAEL (CONT'D)
(gargled)
Al..Most..
HEADLIGHTS approach from the distance, the DOPPLER EFFECT of
an ENGINE'S ROAR approaching.
Matthew relinquishes one final AGONIZING SCREAM.
Everything next happens in a half-second, synchronized heartbeat: Michael's WINGS spread--a glorious 10-foot span--slicing
The Figure in twine.
64.
The Figure, by the ROAD'S SHOULDER, immediately reforms into
the shape of a tremendous, BIBLICAL BEHEMOTH. Michael, in
the center of the road, makes a winged, WHOOSHED leap, ten
feet into the air, elbow and SWORD drawn back like a sling.
The Figure ROARS in response, as the VEHICLE RIPS through
directly underneath Michael.
The VEHICLE swerves, with a drawn out HONK...but shallow
enough to re-correct itself back onto the ROAD, missing the
DEER carcass by inches.
It races off into the DARKNESS.
Matthew heaves, panting ferociously, on the verge of losing
consciousness. He glances over to the side: Michael has his
SWORD shoved directly through the head, and out the neck, of
the BEHEMOTH.
MICHAEL (CONT'D)
(panting)
You did it, Matthew.
(beat)
You just saved a life.
CUT TO:
INT. KITCHEN TABLE - MORNING
Leah is making COFFEE; her son, inside his head as per usual,
munches on a BOWL OF CEREAL.
LEAH
You look tired.
MATTHEW
Oh. Yeah.
(beat)
I didn't get much sleep last night.
Huh?
LEAH
No?
MATTHEW
Mom?
LEAH
(lovingly mocking)
Matty?
MATTHEW
I think I wanna be a firefighter
when I grow up.
His mother's mood shifts slightly, not sad, definitely not
thrilled, but, curious.
65.
LEAH
Why would you want a job like that?
MATTHEW
I want to save lives.
LEAH
(surprised)
Really?
MATTHEW
Really.
He grins subtly as a fantasy seems to overcome him.
LEAH
There are plenty of less(beat)
dangerous ways to help people.
MATTHEW
I don't want to help people.
to save them.
I want
Leah smiles.
LEAH
What's gotten into you lately, I've
never seen you so...
MATTHEW
Alive?
LEAH
...I was gonna say lively.
(beat)
It's that new friend of yours isn't
it.
Suddenly, Matthew lights up in fear.
MATTHEW
What?
LEAH
Esther.
MATTHEW
(relieved)
Oh, Esther.
LEAH
You have a crush on her don't you?
He blushes.
66.
MATTHEW
We're just friends, mom.
LEAH
Nah, you have a crush on her.
(beat)
I can see it in your smile.
He didn't even realize he was smiling.
Something HONKS in the distance.
into the BOWL with a SHING.
It quickly drops.
Matthew drops his SPOON
LEAH (CONT'D)
(laughing)
Still a little jumpy though.
MATTHEW
That's my bus.
LEAH
Have a good day, sweety.
Love you.
She manages to steal a kiss on his cheek before he can sneak

away.
MATTHEW
Love you too, bye!
CUT TO:
EXT. THE EDEN TREE - DAY
Matthew fidgets anxiously, scanning the GAGGLE OF CHILDREN
at play. A SCHOOL BUS docks, and A BLACK-HAIRED GIRL emerges.
She catches his glance as immediately as he does hers, and
begins to saunter over.
Too slowly apparently; Matthew jumps to his feet and dashes
up to Esther, grabbing her in a tight embrace. He can't let
go, he won't. She chuckles, her arms pinned to her sides.
ESTHER
I missed you, too.
He grabs her hand, and pulls her over to the EDEN TREE, for
once dominating her, instead of vice versa.
Under the solace of THE SHADE, they sit, for a second in
mutual wonder of each other's simple presence.
ESTHER (CONT'D)
I'm sorry- I didn't mean for you to
see-
67.
MATTHEW
(abrupt)
I want to tell you a story.
ESTHER
(taken aback)
Oh.. Ok.
(beat)
Let's hear it.
MATTHEW
Ok.
(beat)
Are you ready?
ESTHER
Are you?
He takes a deep inhale; it's a genuine question--this is his
first one after all.
MATTHEW
Yes. Ok. Five years ago there was a
terrible thunder storm.
ESTHER
Oo, I'm liking it already.
MATTHEW
Shh, shh.
ESTHER
Oh, sorry.
MATTHEW
So there's a wicked thunder storm,
one of the worst that our town's
ever had. In the middle of the night,
a lightning bolt strikes a power
line. The power line cracks, and
falls onto a brewery, and the brewery
catches fire. So the firefighters
are called, and my dad is one of
them.
Esther's expression shifts from blush-red to dread.
MATTHEW (CONT'D)
It's not a big fire actually. More
like just a routine one; you know,
like one's that they were used to.
(beat)
So they go in, climb to the second
floor where it was, and put it out.
68.
Matthew's face darkens.
MATTHEW (CONT'D)
But on their way down, something
happens. One of the giant metal
vats breaks from the ceiling and
falls.
ESTHER
Matthew, you don't have to tell me
this story.
MATTHEW
No, I want to.
(beat)
It's really important.
ESTHER
Ok.
MATTHEW
Well, the vat was actually empty-but it wasn't really, you see, because
it was full of oxygen. And it cracked
open when it fell.
(beat)
And what fire does when there's
suddenly a whole bunch of oxygen iswell, it eats it all up.
(beat)
So the fire started up again where
they stored all the C02 tanks 'cause
there must have still been a flame
there.
ESTHER
Matthew are you sure you want to
tell this story?
He actually contemplates this for a second; he seems to
realize that he's reliving quite a horrible memory as he's
telling it. But..
MATTHEW
Yes.
(beat)
It has an important moral.
Esther relents, and nods for him to go on.
MATTHEW (CONT'D)
So one of the tanks explodes and
launches straight through the air,
and knocks one of the firefighters
(MORE)
69.
MATTHEW (CONT'D)
unconscious. His name was Reggie-well we call him Uncle Reggie now,
but that's besides the point.
(beat)
So my dad saw this, and quickly ran
over to save Reggie 'cause they were
the only two left upstairs. My dad
was a strong guy--like super strong-so he was able to lift Reggie over
his shoulders.
(beat)
And then... the rest of the tanks
exploded... all at once.
Matthew's face is suddenly overcome with pain as he seems to
remember how the story ends. But he had already gone this
far. With a grimace, he continues.
MATTHEW (CONT'D)
So my dad, with Reggie over his
shoulders, made a move for the closest
window.
(beat)
And then.. the roof came down.
(beat)
But, in that very instant, with all
his might, my dad threw Reggie out
the glass window.
(beat)
Reggie broke his hip when he hit the
ground, but my dad saved Reggie's
life.
ESTHER
And your dad?
MATTHEW
He- um... he didn't make it. But
anyway that's besides the point.
ESTHER
It is?
MATTHEW
Yes, because afterwards, Reggie gave
me a piece of concrete from the ruble,
so I could always remember what my
dad died for:
Matthew ruffles through his KNAPSACK for the PIECE OF SCORCHED
CONCRETE. Once in hand, he gazes deeply into the RELIC.
MATTHEW (CONT'D)
Friendship.
70.
ESTHER
Your father was a hero.
He pushes THE STONE towards Esther.
MATTHEW
I want you to have it.
ESTHER
No- IMATTHEW
Textbooks are heavy enough.
He takes her hand and positions it over THE STONE.
MATTHEW (CONT'D)
And who knows. Maybe it will help
stop... you know... the "attacks".
Esther looks down at it for a moment and then at Matthew.
She takes the CONCRETE.
Suddenly, something overwhelms her, and she plants a kiss on
Matthew's lips.
After a few seconds, they both pull back in shock; neither
of them saw that coming.
MATTHEW (CONT'D)
That was...
ESTHER
...cool.
MATTHEW
(smiling)
Cool as ice.
CUT TO:
EXT. ASTRID'S BACKYARD - DAY
It's a kiddie birthday: BALLOONS, PINATAS, A TABLE STACKED
WITH TECHNICOLOR BOXES, and thankfully no middle-aged, underwaged clowns to taint the atmosphere with pathos. Just a
peaceful, CLOUDLESS SKY above, a chaotic SWARM OF PRE-TEENS
below, and a POOL.
A FEW ADULTS crowd around a BARBECUE, BEERS in hand, to ease
them through the crucible.
Like most children's birthday parties, all classmates are
invited, despite the special boy or girl's approval.
71.
Matthew reluctantly approaches Astrid with a PRETTY WRAPPED
BOX.
MATTHEW
Uh- happy birthday, Astrid.
ASTRID
(genuine)
Oh. Thanks, Matthew.
She takes THE GIFT, and he makes for a quick getaway.
ASTRID (CONT'D)
Hey, Matthew.
MATTHEW
Ye- d'uh- what's up?
ASTRID
I'm sorry about the apple.
MATTHEW
(taken aback)
Oh. That's ok..
(beat)
I kind of liked it.
ASTRID
Really?
MATTHEW
(nodding)
Sure.
(beat)
Did you know you can cut some worms
in half, and they can still live and
grow the other half right back.
ASTRID
Gross..
Matthew blushes; lately, his words seem to be getting ahead
of him before he can bar his lips to halt them.
ASTRID (CONT'D)
But interesting.
MATTHEW
Yeah?
ASTRID
(smiling)
Yeah.
(beat)
Anyway, thanks for the present.
72.
MATTHEW
No problem.
Two warm hands blind Matthew from behind.
from the shock of arousal.
ESTHER
So jumpy, jumpy-pants.
in those pants?
He reels away
You got ants
She pats down his outer thighs rapidly, tickling.

He tries to hold back a grin which eventually gets the best
of him and shifts into laughter.
Esther hands Astrid her PRESENT.
ESTHER (CONT'D)
(to Astrid)
Happy birthday, ass
(beat)
trid.
Matthew chuckles guiltily.
ASTRID
(frowning)
Thanks.
ESTHER
(to Matthew)
Matthew, can I have a private word
with you for a moment.
MATTHEW
Uh- surShe grabs his hand, dragging him to under a GAZEBO. It's
quieter there; the WIND tosses ESTHER'S HAIR, imbuing the
STRANDS with something like sentience.
MATTHEW (CONT'D)
You look like... a kite.
ESTHER
A kite? You gotta work on your
romance, Romeo.
MATTHEW
I'm better with actions than with
words.
Completely uninhibited--confidently, even--he brushes the
FLAILING STRANDS behind her ear. Her eyes close and bask in
the contact.
73.
ESTHER
I want to show you something.
MATTHEW
Ok.
She pulls out THE CONCRETE from her pocket.
Matthew is speechless for a moment, slightly awe-struck.
ESTHER
I'm trying this one out today.
MATTHEW
You don't have Mary?
ESTHER
Left her at home. Figured she could
use the vacation.
MATTHEW
I- uhESTHER
(with air quotes)
Come on, let's head back to the
"party." It's a sin to refuse free
cake, after all.
Matthew nods, and follows her back into the HORDE.
On their procession back, someone shoves Matthew, FULLY
CLOTHED, into the POOL.
BOY #1
Whoops!
Matthew's emerges quickly, jaw dropped, inhaling and exhaling
rapidly from the vast temperature shift.
Some children break out into LAUGHTER.
Matthew's eyes dart, something wicked begins to overcome his
cognizance.
Suddenly, ANOTHER BODY makes a full blown leap into the POOL,
cannonball style.
Esther emerges next to him, soaked, and shivering.
ESTHER
And God s- s- said let the waters tt- teem with l- l- living creatures.
74.
She splashes him in the face. His expression shifts from
terror to joy faster than it ever could in the past. He
splashes back.
ANOTHER BODY jumps into the POOL, then another, and another.
Soon the pool is teeming with GIGGLING, FULLY CLOTHED TWEENS.
Even Astrid takes part.
The CHAPERONS about the BARBECUE shrug it off; kids will be
kids.
BOY #1 and his cronies saunter away to be assholes elsewhere.
Esther puts her hands over Matthew's head and dunks him. He
lets her; he likes it. After a good few seconds, he emerges.
There.
ESTHER (CONT'D)
I just baptized you.
MATTHEW
(laughing)
What does that mean?
ESTHER
It means all your sins are forgiven.
You're a whole new person now.
Matthew beams; he likes this idea.
stroke for the DEEP-END.
He quickly makes a playful
Esther looks apprehensive for a moment, but follows her

trusted friend.
They're both pretty skillful swimmers. They tread water
together, gazing into eachother's gleeful eyes, grinning
like love-struck fools.
She splashes him, he splashes back.
erupts between the two of them.
A full on SPLASH-WAR
Esther has to constantly shut her eyes to defend, and open

them to attack.
ESTHER'S P.O.V. - CONTINUOUS
DARKNESS, then SUNLIGHT, DARKNESS, then SUNLIGHT, AIRBORNE
WATER refracting SUNLIGHT, Matthew, DARKNESS, the POOL
glimmering LIGHT, Matthew, DARKNESS, SUNLIGHT, DARKNESS.
BACK TO SCENE
Matthew wipes the WATER off his face, eyes shut, full blown
laughing.
He opens his eyes.
Esther is absent.
75.
MATTHEW
Esther?
He scans the WAVES and WATER-FLAILING CHILDREN.
MATTHEW (CONT'D)
(becoming frantic)
Esther?
He looks below, A BODY is spread wide, back to the POOL FLOOR.
His eyes light up in terror, but he wastes no time, making a
quick dive. He strokes and strokes with all his might, and
manages to grab her torso.
He thrusts her head to the surface.
MATTHEW (CONT'D)
(gargled)
Help!
The HORDE of SOAKED CHILDREN part like the Red Sea as he
swims THE RAG-DOLL BODY to the POOL SIDE towards the ADULTS.
Somebody!
MATTHEW (CONT'D)
Help me!
The CHAPERONS rush over, immediately wrenching Esther's body

free of Matthew, and laying her flat. ONE MAN pushes two
fingers to her neck. His expression becomes dire as he
quickly straddles her, and begins thrusting a cupped fist
into her sternum.
Matthew looks on in sheer horror, the WATER up to his waist.
THE MAN pumps and pumps, puts an ear to her mouth, and
continues to pump.
Matthew is paralyzed. A YOUNG GIRL SCREAMS, and everyone
madly evacuates the POOL.
Matthew stays put, watching: PUMP, PUMP, PUMP.
Other PARENTS are herding THE CHILDREN inside. One is on A
CELL PHONE, frantically spewing details to an emergency
operator.
Matthew doesn't seem to notice any of it; his gaze is glued
to Esther's PALE, SLACK-JAWED FACE.
The man pumps on and on.
Suddenly, someone jumps into the POOL and drags Matthew out,
his eyes still on his lifeless friend.
76.
She's dying. She's dead. She's
dead, Matthew.
Matthew, SOAKED, sitting upright on the GRASS, pulls his
gaze off Esther to heave over and wretch.
She's dead! You killed her! You
killed her, Matthew!
His eyes glaze, his hands in a PILE of his own BILE, his
skin, WHITE as snow.
The world spins out of control; he keels over into a catatonic
convulsion, limbs twitching, mouth mumbling.
THE MAN straddling Esther looks up to the surrounding PARENTS,
and shakes his head, face as grim as the reaper himself.
CUT TO:
INT. OUTPATIENT PSYCH-WARD - EVENING
Leah converses with a DOCTOR outside a series of hospital
rooms.
DOCTOR
It's hard to say. Trauma like this
can put an individual with his
condition into a catatonic episode
for days--weeks even.
LEAH
(stumbling)
But he'll- eventually he willDOCTOR
He'll come back to us. This is how
his mind copes with the grieving
process, so to speak.
LEAH
(desperate)
Is there anything I can do?
DOCTOR
I would advise staying by his side,
as your schedule permits. A positive
influence near him may help ease the
recovery.. even though it appears as
if his mind is withdrawn.
LEAH
He'll know I'm with him?
77.
DOCTOR
It's not unlikely at all.
(beat)
He'll wake up. It's simply a matter
of time.
LEAH
Ok. Thank you, doctor.
Leah turns her attention to one of the rooms, biting her
lip, her eyes brimming to the seams.
CUT TO:
EXT. THE OCEAN - DAY
Matthew treads, head above the surface of an ENDLESS OCEAN.
The SALT WATER is eerily--fantastically--serene, and land,
no where to be seen.
He dives, pushing deeper and deeper; he's looking for
something--someone.
A FIGURE begins to materialize in the depth; a FIVE POINTED
MASS, an OVERSIZED STARFISH perhaps. He pushes deeper.
It becomes clear then. It's Esther, her eyes closed, her
body limp, swaying peacefully to and fro with the TIDE.
He picks up speed, stroking, stroking, until the water itself
seems to QUAKE. A RUMBLE emerges from below. A tremendous
BLACK SHADOW formulates below Esther.
Matthew tries to make it to her; it's the only thing in the
world the world that he wants. But he can't.
The mass becomes clear: A TREMENDOUS LEVIATHAN. It subsumes
Esther, sucking her into its VACUOUS GOB as it rises. Then,
it changes course, arcs, and dives back down.
Matthew is left helpless, hovering, SUNBEAMS piercing the
ripples above him.
FADE TO:
EXT. ISLAND - DAY
A TINY, ISOLATED ISLAND, like something out of a sailor's
clich, is Matthew's SANDY repose. A SINGLE PALM, of course,
looms over him, providing modest shelter from the FLAGRANT
SUN.
Michael appears from behind the PALM.
keeps his gaze to the SEA.
Matthew notices, but
78.
MICHAEL
Matthew.
MATTHEW
Go away.
MICHAEL
Matthew, please.
MATTHEW
(livid)
I said leave me alone!
The SCREAM ECHOES out over the empty, FLUID MASS.
MICHAEL
You are alone.
Matthew stumbles to his feet to face THE ANGEL, launching
SAND everywhere as he approaches.
MATTHEW
Why didn't you warn me?!
MICHAEL
We can't save every life.
MATTHEW
We don't have to! We only had to
save one! The only one that mattered.
(beat)
And we couldn't.
Michael has no reply for the tormented soul.
MATTHEW (CONT'D)
It's our fault she's dead.
MICHAEL
That's not true.
The Figure slinks out from the other side of the PALM. For
the first time, we see both together in DAYLIGHT, genuinely
emphasizing their SURREAL FEATURES.
THE FIGURE
Is it?
MATTHEW
All you had to do was warn me ten
minutes before- 10 seconds- 1 second!
And we could've prevented it.
MICHAEL
That's not how it works, Matthew.
79.
Yeah?
MATTHEW
How does it work?
MICHAEL
Your mind is.. tremendously gifted.
THE FIGURE
Burdened.
Matthew shakes his head rapidly; the platitude has become
putrid.
MICHAEL
Probabilities and factors that baffle
most rearrange themselves neatly in
your mind. You have the seed of
genius within you; great power. But
for now, its workings remain a mystery
in your subconscious.
MATTHEW
(sarcastic, spiteful)
So I'm like some sort of John Nash,
schizophrenic super genius. A
beautiful mind and all that- don't
give me that bullshit.
THE FIGURE
You don't have to listen to him.
MATTHEW
I'm tired of it. I'm tired of
everything.
MICHAEL
Sometimes you will be wrong. Other's
you will be right. Probability is
not a flawless science. Occasionally,
you must account for..
THE FIGURE
Chaos.
MATTHEW
If it couldn't help me save her.
(beat)
Then it's broken- I'm broken.
THE FIGURE
This is what happens when you attempt
to play God, Matthew.
MICHAEL
Matthew-
80.
MATTHEW
Don't. Don't say one more word.
Leave me.
Michael relents, and disappears behind the PALM.
THE FIGURE
You gave her your stone, and she
sank.
Matthew still gazes outwards.
MATTHEW
Do you think it'll spit her out?
THE FIGURE
What will?
MATTHEW
The Leviathan.
THE FIGURE
(blunt)
No.
MATTHEW
Why not?
(beat)
She deserves a second chance.
THE FIGURE
Seconds chances happen in stories,
Matthew.
(beat)
Not in reality.
MATTHEW
Either way, I think I'll wait just a
little longer.
THE FIGURE
You have to come out of here sometime.
MATTHEW
(despondent)
Are you going to harm me if I don't?
THE FIGURE
You've harmed yourself more than I
ever could.
MATTHEW
Good.
81.
THE FIGURE
...I sincerely hope you've gleaned a
lesson from all this.
MATTHEW
Go.
Now.
The Figure complies without dissent and too disappears behind

the PALM.
Matthew bursts into a sobbing fit, his hands to his face.
THE HORIZON, like the probabilities that coexist with every
cause-and-effect equation, stretches infinitely outwards.
CUT TO:
INT. HOSPITAL ROOM - NIGHT
Leah is by her beloved son's side. She clasps his BANDAGED
HAND between hers, as he mumbles nonsense and twitches. THE
PIECE OF CONCRETE lay by his bedside--likely recovered from
Esther's body.
FADE TO:
EXT. THE EDEN TREE - DAY
SUPERIMPOSE: "Two weeks later."
No one is leaning against it. But Matthew is facing it,
about ten feet away. He's clutching something in his hand.
He opens his hand to take one final look: it's ARCHANGEL
MICHAEL.
MATTHEW
Agh!
He whips the FIGURINE at the TREE, shattering it into a
multitude of IRRECONCILABLE PIECES.
Panting, he lets his body fall to the ground, back to the
GRASS. FIGURES arrange themselves in the SKY above at the
behest of his imagination; CLOUDS could be peaceful like
that sometimes.
CUT TO:
INT. KITCHEN TABLE - NIGHT
Matthew and Leah, face-to-face, MUNCH in silence.
it.
LEAH
Can I tell you a story, Matty?
She breaks
82.
He's too withdrawn.
LEAH (CONT'D)
Matthew?
She pulls him out.
MATTHEW
Huh?
LEAH
Can I tell you a story?
MATTHEW
(despondent)
No, thank you.
LEAH
It's about you.
He contemplates, and relents.
MATTHEW
(nodding)
Ok.
Head down, he toys with his FOOD as Leah begins.
LEAH
Five years ago, when I heard the
news that your father died, I ran
into my room, and I locked the door.
He perks up, slightly.
LEAH (CONT'D)
I felt so helpless, but most of all
I felt scared.
(beat)
I was scared of the unknown- I mean
sure I knew the risks of his
profession, but, still..
(beat)
You just can't prepare for the random-for accidents, you know?
He nods.
LEAH (CONT'D)
And it's terrifying- something
completely out of your control that
can just... decimate your entire
life.
(MORE)
83.
LEAH (CONT'D)
(beat)
And the only way for me to deal with
that was to stay in my room, bar the
door, and hide.
(beat)
But then someone knocked at my door.
A little six-year old voice cried
out, "Mommy, what's wrong?" And I
said "Nothing." And he said, "Then
why is your door locked?" To which
I replied, "To keep the monsters
away." To which he replied, "But
Mommy, I'm not a monster."
Matthew expression shifts to confusion at the seemingly non
sequitur.
LEAH (CONT'D)
So I let you in. And locked the
door behind you.
(beat)
Then out of nowhere you said, "I
know a trick that can keep the
monster's away. Can I show you?"
And I said "Ok." So you took me to
the bed, laid a blanket over me, and
tucked every single crease of that
blanket under me. Until I looked
liked a bed-sheet mummy.
Matthew obliges the faintest smile out the side of his cheek.
MATTHEW
A mommy mummy.
LEAH
Exactly. And you said, "There. Now
nothing can hurt you." To which I
replied, "What about my head?"
Because it was still exposed, to
which you replied--and I'll never
forget this--"Mommy, you're so
beautiful, no monster could get
anywhere close to your head."
They both share a smile.
LEAH (CONT'D)
You gave me strength to overcome my
grief, Matty.
(pause)
The one thing I hope most in the
world right now..
(MORE)
84.
LEAH (CONT'D)
(beat)
is that I can return the favor.
The words strike a chord within him; his face contorts from
the pain he attempts to conceal.
MATTHEW
Thanks, mom.
LEAH
Anytime, sweety.
CUT TO:
EXT. OUTSIDE MATTHEW'S HOUSE - NIGHT
THUNDER booms portentously through the PITCH-BLACK ATMOSPHERE;
CLOUDS could be wicked like that sometimes. A group of THREE
MALE ADOLESCENTS skulk about the SIDEWALK outside Matthew's
FRONT YARD. Boy #1 is amongst them.
BOY #2
Are you sure this is his place?
BOY #1
Yeah, it's his place.
BOY #1 tinkers with something in hands.
It begins to RAIN, lightly at first.
BOY #3
Let's hurry up, were gonna get soaked.
Boy #1 scours the face of the HOUSE.
He notices something.
BOY #3 (CONT'D)
(anxious)
What are you waiting for?
BOY #1
Do you see that?
BOY #2
See what?
A HORIZONTAL BOLT OF LIGHTNING rides through the CLOUDS,
illuminating THE ENTIRE BLOCK for the briefest moment.
BOY #1
There's a window open up there.
85.
BOY #3
So what, just toss it through the
mail slot, and lets get the hell out
of here.
A BOOM of concurrent THUNDER follows its ELECTRIC brother.
BOY #1
Uh-uh, I got a better idea.
BOY #2
What if it's not his room.
BOY #1
Who the hell cares.
He reveals a string of FIRECRACKERS in his right hand and a
BIC LIGHTER in his left.
BOY #3
This is stupid.
BOY #1
He's a freak. He killed that girl.
(beat)
I just wanna scare him a bit.
Another BOLT weaves through the NIGHT SKY. Boy #1, twists
off a single FIRECRACKER, lights it, and tosses it at the
WINDOW.
It misses, bounces off the HOUSE, and lands in the BUSHES.
CRACK, BOOM! The FIRECRACKER explodes just before a FEROCIOUS
THUNDER BLAST.
BOY #3
I'm getting out of here.
Boy #3 dashes through the RAIN--which was now escalating
fiercely--and out of sight.
Boy #1 looks over to Boy #2 grinning.
BOY #1
Do you believe in second chances?
BOY #2
Just do it already.
He lights a second FIRECRACKER and lobs it with a carefully
aimed arc.
It passes right through the WINDOW.
scatter.
The two boys immediately
86.
INT. LEAH'S BEDROOM - CONTINUOUS
CRACK! Leah launches awake, heart pounding, breath rapid.
She looks to the WINDOW, and notices a BRIGHT FLASH followed
by a TREMENDOUS BOOM. Thunder... it's just Thunder. Half
asleep, she stumbles to the WINDOW, shuts it, and then crawls
back into BED.
A PILE OF LINENS, on the opposite side of the room, begins
to SMOKE, as Leah falls gently back into slumber.
INT. MATTHEW'S BEDROOM - CONTINUOUS
The Figure has Michael pinned to the wall. It's grotesque,
BLACK APPENDAGE covering Michael's mouth, stifling his cries
into MEAGER MUMBLES.
Matthew is sound asleep. For once, his NIGHT-TIME VISITORS
are allotting him a much needed repose.
Michael struggles on, but The Figure, this time, is somehow
stronger. He reaches for his SWORD, but The Figure snatches
his wrist, squeezing it like a vice. It squeezes and squeezes
until Michael's entire arm BURSTS into LIGHT. The Figure
squeezes his other arm at the bicep; it BURSTS into LIGHT as
well. An audible, but SEVERELY MUFFLED "Matthew!" can be
heard beneath the ARMLESS ANGEL'S dark muzzle. Then, The
Figure throws a hand around Michael neck, and squeezes.
Michael, and his entire self, BURSTS into LIGHT, FEATHERS
floating perilously to the ground and DISSOLVING on contact.
The Figure hovers over to Matthew's unconscious body, and
tilts its head.
INT. LEAH'S BEDROOM - CONTINUOUS
A FLAME erupts from the LINENS, licking at the wall, reaching
and grasping for other things to consume.
INT. MATTHEW'S BEDROOM - CONTINUOUS
THE FIGURE
Matthew, wake up.
MATTHEW
(grumbling)
Leave me alone.
THE FIGURE
Matthew, your house is on fire.
MATTHEW
(coming to)
Huh?
87.
THE FIGURE
I said: your house is on fire..
Matthew, clad in FULL BODY PAJAMAS, springs to attention.
THE FIGURE (CONT'D)
Can you smell it?
He sniffs rapidly at the air; his eyes answer the question.
MATTHEW
Oh my god.
(beat)
Where's my mom?
THE FIGURE
In her room, of course.
He wastes no time, launching up and out the room like a bat
out of hell. The Figure follows.
THE FIGURE (CONT'D)
I wouldn't do that.
Matthew grasps at the DOOR HANDLE of his MOTHER'S ROOM. It
scalds his hand; he wrenches it back. He looks up and sees
SMOKE seeping out the CRACKS of the DOOR.
THE FIGURE (CONT'D)
You need to escape, Matthew.
MATTHEW
(frantic)
No, my mom's in there!
THE FIGURE
What happens to fire when there's
suddenly an abundance of oxygen?
His eyes dart back and fourth.
He can hear the SUCTION below.
A TERRIBLE, THUNDEROUS BOOM rattles the entire HOUSE.

Matthew shakes it off.
No!
MATTHEW
I won't let her die!
He wraps his BANDAGED hand around the DOOR HANDLE, and twists.
THE FIGURE
You fool!
BACKDRAFT! The door SUCKS inwards with hurricane force, and
the room ignites into HELLFIRE.
88.
The FLAMES follow the air out and leap onto Matthew, engulfing
him. He reels back, rolling on the floor, to quench the
FLAMES gnawing on his CLOTHING. His skin BURNS under the
SMOLDERING PATCHES. He releases SCREAMS OF AGONY.
THE FIGURE (CONT'D)
You burn for your sins.
He manages to rise to his hands and knees, challenging the
anguish. He can see Leah, laying peacefully on her BED,
miraculously unburned, a torrential, RING OF FIRE swirling
around her.
MATTHEW
(coughing)
Mom!
THE FIGURE
She can't hear you. She's dead.
Mom!
MATTHEW
Mom, wake up!
Michael appears at the bottom of the stairs; his WINGS are

AFLAME.
MICHAEL
She's alive, Matthew!
THE FIGURE
If you go in there, you will die.
Michael begins a painful ascent; step by step.
MICHAEL
(struggling)
She's passed out! Oxygen deprivation.
You know this!
Matthew is torn, he starts to become dizzy, the FIERY world
around him TEETERS.
Suddenly, The Figure settles into a stark form: A HUMAN MAN...
engulfed in BLACK FLAME.
Matthew looks on in horror.
MATTHEW
Dad?
THE FIGURE
(in agony)
Matthew, run!
89.
The SKIN of The Figure MELTS off like wax, until BONE begins
to surface. It unleashes a DEATH CURDLING SCREAM through a
HALF MELTED FACE.
THE FIGURE (CONT'D)
(tormented)
Son! Save yourself! Run! Now!
Matthew becomes paralyzed.
His eyes glaze over.
All is lost.
FLASHBACK
Esther and Matthew are at play; UTTER WHITENESS surrounds
them. Some FIGURINES are between them, but his attention is
solely on her.
ESTHER
Can I tell you a secret, Matthew?
MATTHEW
Sure.
ESTHER
I don't believe all the stories are
true.
MATTHEW
What?
ESTHER
I don't even believe half of them
are true.
MATTHEW
But- youESTHER
Ok. Actually. Don't tell my mom and
dad this, ok? Promise?
MATTHEW
Promise.
ESTHER
I don't really believe any of them
happened at all..
MATTHEW
(stammering)
But- you're always- telling me stories
about-
90.
ESTHER
(abrupt)
That's what I love! The stories.
The monsters, the magic, the miracles!
The angels and the demons.
(beat)
Especially the ones where the angels
win.
BACK TO SCENE
THE FIGURE
(tormented, warped)
Matthew! Don't die a cowarSWOOSH! A TIDAL-WAVE FORCED JET-STREAM blasts The Figure
into oblivion.
Matthew looks over. It's Michael! He's taken the form and
face of MATTHEW'S FATHER, equipped with full FIREFIGHTING
GEAR, both hands wielding a HEFTY FIREHOSE. Two SINGED,
FEATHERED WINGS are half spread out behind him, instead of a
tank.
MICHAEL
(through the mask)
Save her! You can save her!
Matthew wastes no time.
ROOM.
Go!
He begins a dire crawl towards the
He makes it through the DOORWAY, but Leah is block by a FLAME

WALL.
THUNDER RUMBLES above, only adding to the tumult.
Suddenly, THE ROOF begins to CRUMBLE.
the way to avoid the FALLING DEBRIS.
Matthew leaps out of
HEAVY RAIN pours through, and quells an OPENING through THE

WALL OF FIRE.
Matthew stumbles through the OPENING, coughing and heaving,
head down as low as possible. He grabs his UNCONSCIOUS
MOTHER, and slides her off the BED, below an increasingly
thick SMOKE LAYER.
He tries to lift her, but fails--the FLAMES around him growing
BLASPHEMOUSLY FEROCIOUS.
MATTHEW
She's too heavy!
91.
MICHAEL
Over your back! Like Reggie,
remember!
Without hesitation, he takes his mother's arms and positions
each over one shoulder, like a harness, and, on his knees,
he heaves.
MATTHEW
Agh!
His own WARCRY emboldens him. He manages to carry her a few
feet, half her weight on him, half dragging on the SINGED,
DEBRIS-LADEN FLOOR. He lets out another bold BATTLE CRY.
There's no pain this time; only will. He pushes and pushes.
MATTHEW (CONT'D)
AGH!
MICHAEL
That's it!
He makes it out the ROOM, and to the top of the STAIRS.
It's a straight path to the FRONT DOOR.
Suddenly, the ROOF above the STAIRWELL buckles, sending heavy
WOODEN DEBRIS down and shattering the entire structure.
The only way down now is a drop from a BANISTER guarded
BALCONY.
MICHAEL (CONT'D)
You have to break it! Kick it!
Matthew lets Leah down for a moment, and on his back kicks
wildly at the BANISTER with both feet.
For the first few kicks, nothing. He casts a dire glance at
his unconscious mother; an eerily familiar image.
Then, he goes proceeds to go BERSERK on the BANISTER,
punishing it with a flurry of kicks.
The WOOD splinters.
MICHAEL (CONT'D)
Almost!
Then, the ENTIRE PIECE falls and CRASHES to the LIVING ROOM
below.
MICHAEL (CONT'D)
Good!
92.
Michael is somehow now on the GROUND FLOOR, standing upright
on the COUCH below.
MICHAEL (CONT'D)
(shouting)
Ok! You have to throw her!
MATTHEW
(coughing)
No, she'll die!
MICHAEL
I'll catch her! I promise!
Matthew is out of options.
He pulls his mother to the LEDGE.
MICHAEL (CONT'D)
Just aim right for me, ok?
MATTHEW
I'm scared!
MICHAEL
I know you are! Use it!
Something overcomes Matthew at just that moment. Like Samson
with his cut hair, like David against his hulking foe-something heroic. He shoves his mother's RAG-DOLL BODY off
the LEDGE.
She falls right through Michael... and lands squarely on
the SOFT-PILLOWED SOFA, and thankfully not the SPINE.
MATTHEW
(under his breath)
It's a miracle.
MICHAEL
It's you!
MATTHEW
What?
MICHAEL
It's your turn! Jump!
PIECES OF HIS HOUSE falling around he scans frantically for
a spot to land on. None look soft. He makes of a leap of
faith. Perhaps, not the best aimed one.
He slams feet-first to the FLOOR with a grotesque CRACK.
MATTHEW
Ugh..
93.
A BONE juts out from the side of his leg. The adrenaline
beguiles the pain, but still, the sight noticeably demoralizes
Matthew.
He looks as if he is ready to fall asleep--to just let go.
MICHAEL
You'll heal fast! Take her hand!
Jolting back to coherence, Matthew complies swiftly, and
drags his mother off the COUCH, using both hands and one
leg.
BOOM, another BOLT OF LIGHTNING'S WICKED SOUND-WAVE seems to
infuriate the FLAMES above. More PIECES OF THE HOUSE fall
and SMASH heavily to the ground.
Somehow, he makes it to the DOOR, and twists the HANDLE.
A GALE comes to his aid and swings THE DOOR open.
MICHAEL (CONT'D)
Just a few more feet!
With all his might, and every modicum of bravery in his being,
crippled and singed, Matthew manages to drag himself, his
mother, and both their lives to safety.
The CAVALRY arrive just then.
The last thing Matthew hears before drifting into
unconsciousness are the fading CAWS of FIRE ENGINE SIRENS;
and a VOICE, perhaps his father's, perhaps Michael's, or
perhaps simply an emergency worker's.
VOICE (V.O.)
You're a hero, kid.
FADE TO:
INT. HOSPITAL ROOM - MORNING
Matthew's eyes gradually open.
not the same one that he's used
harnesses. He's SHIRTLESS, and
by a THICK CAST, BOLTS AND RODS
direction.
He's in a HOSPITAL BED, but

to--there are no straps, no
his leg is up in SLING, bound
impaling it in every which
His breathing begins to accelerate, and the EKG MACHINE behind

him CRESCENDOS concurrently. He feels around his torso and
notices its bandaged with THICK PADS at certain points: over
his shoulder, his abdomen, and his neck.
His hoarse throat betrays his cries into raspy whispers; he
fumbles clumsily for something to call someone.
94.
He finds a RED BUTTON next to him, and mashes it.
A NURSE runs up.
MATTHEW
(drugged, hoarse)
Where's my mom?
NURSE
Relax, relax.
MATTHEW
Where's my mom!?
FEMALE VOICE (O.S.)
(raspy)
Matthew?
The Nurse swings open THE CURTAIN dividing them.
There she is, almost... angelic, untainted, glowing, an OXYGEN
MASK around her nose and mouth.
They reach out and touch finger tips.
MATTHEW
Mom..
LEAH
My sweetheart.
TEARS well up in both their eyes.
LEAH (CONT'D)
(coughing)
Maybe- maybe you really should be a
firefighter.
Matthew shakes his head, sniffling, not fighting the TEARS;
but sharing them.
LEAH (CONT'D)
They- they said- you saved my life.
MATTHEW
No, mom.
(pause)
You saved mine.
FADE TO:
EXT. GRAVEYARD - DAY
It's a particularly beautiful day. Matthew, with TWO CRUTCHES
supporting him, and a TRUNK OF A CAST over his leg, gazes
95.
down at a TOMBSTONE.
but solemn.
He looks changed-- not sad, nor happy,
Michael is standing vigil over his left shoulder, and The

Figure, wispy and wild, over his right.
The TOMBSTONE reads: "Here lies Esther Grayson: daughter,
dreamer, saint."
Matthew struggles to pull something from his POCKET. It's
the SCORCHED PIECE OF CONCRETE. He places it gently over
the TOMBSTONE.
Still glancing down, he addresses Michael.
MATTHEW
Will you always be there.
(beat)
From now on.
MICHAEL
(frank)
Yes.
MATTHEW
(gesturing over his
shoulder)
And it?
MICHAEL
It too.
Matthew mulls on this a moment.
MATTHEW
Ok.
MICHAEL
Which one of us you chose to heed,
however..
MATTHEW
Is up to me.
Michael nods.
MATTHEW (CONT'D)
(gesturing down)
Do you think she's in a better place?
Michael pauses to compose an articulate answer.
MICHAEL
I think you're in a better place.
96.
MATTHEW
Will we save more lives?
MICHAEL
Only if you want to.
MATTHEW
I want to.
(beat)
I think- I think she would want me
to.
MICHAEL
I think so too.
MATTHEW
(baffled)
Where do we go from here?
MICHAEL
Home.
MATTHEW
And then?
Michael pauses again.
MICHAEL
And then..
(beat)
god only knows.
Matthew tilts his chin up to the SUN-DRENCHED SKY.
his eyes, and takes a DEEP INHALE.
He closes
MATTHEW
I don't believe in god.
MICHAEL
What do you believe in?
MATTHEW
(pause)
... Heroes.
CUT TO:
INT. PSYCHIATRIST'S OFFICE - DAY
They sit face-to-face, but this time, Matthew has TWO VISITORS
over each shoulder.
DR. JANUS
How have you been sleeping?
97.
MATTHEW
Much better.
DR. JANUS
I'm glad to hear that.
(beat)
And your hallucinations?
MATTHEW
The voices are.. calmer; sometimes
annoying, but for the most part I
can tolerate them.
(beat)
They like to tell stories.
DR. JANUS
Stories? Really?
MATTHEW
Mhm.
DR. JANUS
About what?
MATTHEW
All kinds of stuff. Monsters, magic,
miracles. You know- angels and
demons.
Oh, yeah?
DR. JANUS
Which are your favorites?
Matthew muses on this a moment.

across his face.
A confident smile spreads
MATTHEW
I like the ones where the angels
win.
Michael and The Figure glance briefly at each other, and
then back forward.
Matthew's smile sustains as he holds his doctor's gaze, LIGHT
casting sporadically through the BLINDS at the behest of
PASSING CLOUDS.
FADE OUT.

Angels and Demons

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ANGELS AND DEMONS

Sam Henry Miller

DR. JANUS (CONT'D)

He's never seen a

UNKNOWN LEGION (V.O.)

INT. POLICE STATION

Leah is speaking to a CONSTABLE and his NOTEPAD.

His foot picking up tempo.

The routine has suddenly

INT. SCHOOL YARD - DAY

FEMALE VOICE (CONT'D)

Then he does, with a bit of shock. It's ASTRID (11, blonde),

UNKNOWN LEGION (V.O.) (CONT'D)

UNKNOWN LEGION (V.O.) (CONT'D)

Desperate to escape the taunting, he complies with a dash,

The Figure appears to tilt what seems like a HEAD, examining

The Figure proceeds grimly towards Matthew, CLAWS fully

She reveals a three inch, OPAQUE-WHITE ALABASTER ANGEL

He wants to, but he

He fiddles with an object in his pocket.

It's the ARCHANGEL

He places it gently on the table, his mother's eyes following

Matthew's attention has already begun to drift inwards.

It's infectious, and soon they're laughing

He pulls the figurine away.

It's true, and Matthew's facade can't hold much longer.

An emboldened astonishment overcomes

The back of a two-foot tall KITE SHIELD hovers in the air.

What did you

INT. PSYCHIATRIST'S OFFICE - MORNING

Dr. Janus smiles back.

DR. JANUS (CONT'D)

Esther grasps for an explanation.

He looks slightly deceived.

The FIGURINE'S GLOSSY SHIELD and BLADE flickers LIGHT about

Her expression is frozen forward.

He notices her eyes have rolled

UNKNOWN LEGION (V.O.)

A SPRAWLED MAN FIGURE looms solemnly over the ALTER, both

They sit as the ECHOES

An autonomic sigh launches itself from Matthew's diaphragm

The Priest mulls on this a moment with the faintest of smiles.

And The Figure is... completely absent.

But... this is Michael.

Matthew tails the staunch, feathered knight, scanning the

Matthew's eyes light

Matthew's mind becomes a torrent of cause-and-effect; his

Michael now turns to The Figure, and The Figure, likewise.

Michael sends a wicked SHIELD BASH into The Figure's

The Figure spits out a HANDFUL OF BLACK TEETH, which dissolve

Matthew drops his SPOON

She manages to steal a kiss on his cheek before he can sneak

You got ants

She pats down his outer thighs rapidly, tickling.

He quickly makes a playful

Esther looks apprehensive for a moment, but follows her

Esther has to constantly shut her eyes to defend, and open

The CHAPERONS rush over, immediately wrenching Esther's body

Matthew notices, but

The Figure complies without dissent and too disappears behind

The two boys immediately

He can hear the SUCTION below.

A TERRIBLE, THUNDEROUS BOOM rattles the entire HOUSE.

Michael appears at the bottom of the stairs; his WINGS are