Daymares

By Brantley Thompson Elkins

A teleplay for the series Athena

Dramatis Personae

Amy (4 years old, 16 years old)

Amy's Father (Dan)

Amy's Mother (Myra)

Jason Riley, detective, Special Crimes Unit

Jacob Littrell

Hank Tanner, another SCU detective

Police Captain Louie Thompson

Amy (16 years old)

Dr. Dorothy Randall, school psychologist

Athena, aka Middy Garrett, a woman in her 20s with super genes, activated in childhood by the Titan Zarus, who supervises her as best he can.

Karen Blaylock, police officer and go-between with Middy

Police Clerk

Mrs. Garrett

Mr. Garrett

Security Guard

Zarus, an anthropologist from the planet Atlantea who uses Middy/Athena to influence things on Earth.

Attendance Officer

Hellhound

Billy Tolliver

Thanus, renegade Atlantean and Master of voodoo cult

Jerry, cult activist

Roy Huckabee (school principal)

Dr. Roberson

Judge

Lawyer

Teenage pest

Sundry cultists, low-lifes, etc.

Scene 1

Subtitle: Elkins Lake, Lousiana, July 20, 1997

Closeup of a smiling girl, about eight years old. Camera pulls back to show that she is near a lake, playing with a doll.

Camera pulls further back, to show a summer house. The girl's mother is sitting on the front porch, watching the child. We hear the father's voice from inside. Camera closes in on mother.

FATHER:

Myra, you get in here this minute.

MOTHER:

But I'm watching Amy-

FATHER:

I said, get in here dammit!

[The mother seems worried; she looks at Amy, then at the door, then back at Amy.]

MOTHER (to Amy):

You stay put, dear, don't go anywhere.

[The father appears at the door, grabs Myra and starts dragging her inside.]

FATHER:

You gone deaf or something, you stupid bitch?

[Cut to Amy. She's looking towards the house, but says nothing and does nothing. She must be used to this sort of thing.]

[Cut back to front of house. We can't see inside, but we hear a fierce argument.]

FATHER:

Look at this beer! What kind of fucking beer is this?

MOTHER (sheepishly):

I'm sorry, Dan, they were all out of--

[She is cut off by the sound of a hard slap.]

FATHER:

You'd better be sorry, bitch! Didn't I tell you never to buy Coors? Fuck that shit. It's Cajun Red or nothing, and you're worse than nothing.

[Sound of more slaps, and mother's whimpers.]

FATHER:

Turning on the waterworks again? We'll see about that, bitch!

[Sounds of heavy blows, whimpers escalating to screams.]

FATHER (hysterically):

Shut up, bitch. Worthless whore! You never scream when I'm fucking you, so shut the fuck up!

MOTHER:

Don't, please don't.

[Cries die down as he beats her to death. A silence. And then....]

FATHER:

Stupid bitches, all of them. What's the use? What's the use?

[Sounds of rummaging, then a shot.

Time passes, evidenced by changing shadows.

Amy creeps into the house. We follow her POV. She finds two bloody bodies, mother beaten beyond recognition, father shot through the head, gun beside him.

More time passes. Now it's dark outside. Amy is lying on her bed, sobbing.]

AMY:

Make it didn't happen. Make it didn't happen.

[Fade to black, Then suddenly it's morning. Amy wakes up. Myra comes to the door.]

MYRA:

Time for breakfast, Amy!

DAN (from just outside her door)

And then we're going fishing. Won't that be fun!

[Amy leaps out of bed and follows them to the kitchen. They're all smiles, and she knows they love her. Outside, the birds sing a pretty song.]

Scene 2

[Detective Jason Riley's office, Special Crimes Unit, Millandon. Louisiana. Riley is seated at his desk, apparently entering some kind of notes into his computer. He has a frown on his face; he doesn't like this kind of work. He makes some sort of entry error and looks even more frustrated. Suddenly, there's a commotion outside, and a man (Jacob Littrell) bursts through the door, waving a manila envelope. Riley recognizes the man, and now he's really pissed.]

LITTRELL:

I'm not crazy, damn you, I've got proof positive!

RILEY:

You again?

Riley gets up, ready for action. But another detective, Hank Tanner, follows Littrell in and grabs him.

TANNER:

I'm sorry, Jase, I was just... and he ran right by me.

LITTRELL:

You've got to help me. Hiding my son, maybe killing him, and then pretending he never existed -- isn't that a special crime? She's the crazy one, you should lock her up!

RILEY:

You're the one getting locked up. I warned you last time.

(nods to Tanner).

Make it assault on a police officer, Hank.

TANNER:

My pleasure.

[As Tanner grabs Littrell's arms, his papers fall to the floor; he shouts as he continues to struggle,]

LITTRELL:

Just look at them, for Christ's sake. Are you just that stupid? Or are you in on this with her? Is that it?

[Tanner manages to cuff Littrell's arms behind his back, inflicting as much pain as he can. The man screams as the detective drags him off.]

LITTRELL:

You'll pay for this. You'll all pay. What kind of fucking town is this, somebody kills Bobby and they won't do a damn thing about it?

[Littrell continues to struggle and scream obscenities as he is hauled off. Riley comes around his desk and picks up the envelope. It's evidence, after all. He opens up the envelope, and spreads the papers on his desk. As he examines the papers, we see them in close up shots. They include:

A photograph showing Jacob Littrell with a teenage boy, in front of the Grand Ole Opry in Nashville.

Xerox copy of a divorce settlement, with a paper clip marking a page where Ruth Littrell is given custody of Robert Littrell, but with visitation rights and Robert to spend a month with is father Jacob Littrell each summer.

Several recent canceled checks, made out by Jacob Littrell to Ruth Littrell, some marked as alimony, others as child support for Robert Littrell.

Jason Riley stares at the papers in disbelief, and then his face takes on a worried look. He picks up his phone and dials a number.]

RILEY:

Louie, we've got a problem.

(listens to a response we can't hear)

That's the thing. I don't know what kind of a problem. Remember that wacko I was telling you about? Either he's a terrific forger or some people around here are lying about a missing kid and we're in deep shit.

(fade out)

Scene 3

School psychologist's office, Millandon High School. Amy Burgess, now 16, has come to see Dr. Dorothy Randall.

RANDALL:

You have an excellent academic record, Miss Burgess. You've never had any disciplinary problems. People speak well of your parents. I'm surprised to see you here, but if there's anything I can do to help.

AMY:

I have these bad dreams. I don't know why. But I want them to go away.

RANDALL:

What kind of bad dreams?

AMY

I dreamed this football player dragged me into the bushes one night and raped me. It hurt so bad, and I was bleeding when he was done with me, and it seemed so real. I hated him so much, but he was on the football team and everybody knew him, and I was sure nobody would listen to me, nobody would do anything to him because that's just how things are. And I dreamed I cried myself to sleep, but when I woke up I knew it was all a dream. I didn't hurt down there, there was nothing wrong. Only I keep dreaming about him, and I know there isn't even any such person as Bobby.

[As Amy speaks, we see flashes of the rape in clear detail, but in black and white and total silence. We see Amy accosted by Bobby, wearing a Millandon High School letter jacket, a lewd expression on his face. We can tell she is blowing him off, even though we can't hear her words. We see Bobby drag her off behind the bushes, his intent obvious, We see her mouth open in a silent scream. We see her bedraggled afterwards, whimpering.]

RANDALL

Bobby?

AMY:

Bobby Littrell. That was his name, and I knew who his mother was and everything. But Ruth doesn't even have a son. Bobby never existed. So why did I dream about him?

RANDALL:

I have to ask you a very personal question. You know I'm a doctor; I won't tell anyone else, not without your permission. Are you a virgin?

AMY (a touch of anger in her voice):

How can you ask that? I'm not that kind of girl. I don't even let guys feel me up. Me and Jimmy, he's my steady now, we just hold hands. Kiss a little.

RANDALL:

How much do you know about sex?

AMY:

What I read in books. What Mom told me. She's really good about things like that, only....

RANDALL:

Only what?

AMY:

A long time ago, I had this other dream, that she wasn't like that. That Dad got mad and killed her, he was drunk or something, and then he shot himself, but he was never like that. Never! Only in that dream. But the dream finally went away, and I almost forgot about it.

[Flashes of the murder suicide, but surreal and distorted by the passage of time.]

RANDALL (perturbed):

Have you had any other dreams like this?

AMY:

Not as bad as that one, or the one about Bobby. Just small stuff. Like once I dreamed Shadow was hit by a car.

[Brief shot of dog lying dead in the street]

RANDALL:

Shadow?

AMY:

My dog. He's fine, it never happened. Another time I dreamed I hadn't studied for a test the next day, only it turned out there wasn't a test that day.

RANDALL:

Have you ever had an EEG?

AMY:

A what?

RANDALL:

An electro encephalogram. A brain scan. I doubt it would show anything, but I do want to rule out any organic cause for whatever's been happening. Of course, I'll need your parents' consent.

AMY:

But they don't know about this. I could never....

RANDALL:

They don't have to. I don't think a little white lie can hurt in this case. I can tell them you just came to me complaining of bad headaches that wouldn't go away, That you didn't say anything till now because you didn't want to worry them. I'll talk to Dr. Roberson and suggest he get you into County General. That way, they don't even have to know you came to me.

AMY:

I.... I guess that's okay. Can I go now?

RANDALL:

Of course. Dr. Roberson will be in touch.

AMY:

Thanks a bunch.

[Exits, When she is through the door, Randall gets on the phone]

RANDALL::

Ted, I don't want to alarm you. It's probably nothing, but I want to be sure we don't have a 16-year old girl with a brain tumor.

Scene 4.

Riley's office at the SCU, the next morning.

Riley spots Middy Garrett outside his office.

RILEY:

Morning Middy. Could you stop in a minute? Got something to show you.

MIDDY:

Only a minute. Crime scene picture analysis calling, you know.

RILEY:

Well, this is about analysis, too.

[Waves her in, and she follows. He pulls out the picture of Jacob and Bobby Littrell.]

RILEY:

What do you make of this?

MIDDY

It's a picture of a man and a boy. His son I guess. At the Grand Ole Opry. What am I supposed to make of it?

RILEY

Is it for real? Not doctored. Not a composite?

MIDDY

How should I know? Looks okay, but you can do just about anything in Photoshop these days. Only....

RILEY:

What?

MIDDY:

The kid looks familiar. Is he on the football team or something?

RILEY:

Not according to school records. In fact, we can't find any record of him here in Millandon. We already knew the woman who's supposed to be his mother never heard of him. That's why we told Littrell to get the hell out of here last time.

[Middy seems perplexed for a moment, then hides that expression behind a mask of cynicism.]

MIDDY:

Then I must be mistaken, Anyway, jocks are pretty much alike, and I never paid them much attention anyway.

RILEY:

Right.

MIDDY:

Sorry I couldn't help. Maybe the FBI, but I doubt it.

[Middy is about to leave when Karen Blaylock enters. She nods a greeting to Middy, but she's here for business, opens conversation without further ado.]

BLAYLOCK:

I heard back from the people in Posey, Jase.

RILEY:

Posey?

BLAYLOCK:

Posey, Arkansas, remember? Where this guy lives.

RILEY:

Right. So is he a pain-in-the-ass there, too?

BLAYLOCK:

Well, he wasn't much of a husband. Had a thing for waitresses and strippers, and he wasn't too discreet about it.

RILEY:

There you go!

BLAYLOCK:

That's why he lost custody of Bobby--

RILEY:

What?

BLAYLOCK:

There we go, right down the toilet. Has the guy lawyered up yet? Why the hell did you have to make it assault on a police officer? You got a death wish or something? Or were you--

RILEY:

All I'm on now is coffee. You know that. Want to search my desk?

BLAYLOCK:

I want you to search for a way out of this fine mess you've gotten us into.

RILEY:

You think I'm just making trouble for the sake of trouble? None of this makes any damn sense! We checked his story nine ways from Sunday. I even called Louie after I saw those pictures. But there was nothing. As far as school records, Ruth's friends and neighbors, her doctor, her insurance man -- anybody who could or would have known Bobby Littrell were concerned -- he never existed. We even looked in the school yearbooks. Nothing. If there's some kind of conspiracy going on, how did they manage to change the yearbooks?

BLAYLOCK:

All I know is, Arkansas records bear out Jacob Littrell's story. And he can bury us, bury us so deep....

[Middy has been listening to all this, looking worried. Riley and Blaylock haven't paid any attention. She breaks in at this point.]

MIDDY:

Uh, guys, I've got to be somewhere. I can't help you with that picture, but I guess it doesn't matter now.

RILEY (train of thought interrupted):

Yeah, you might as well get back to.... whatever. Karen and I... I guess we're going to be kind of busy.

[Exit Middy]

BLAYLOCK:

First thing we do, we'd better get that guy sprung. And hope he doesn't sue.

RILEY:

I think that'd be the least of our worries. Are we having an X-Files experience, or what?

Scene 5.

City jail. Jacob Littrell is being processed out by a clerk

LITTRELL:

Don't think you've heard the last of this, 'cause you haven't.

CLERK (signing release papers):

Ain't nothing to do with me.

LITTRELL:

Yeah, and I can see the assholes it does have to do with haven't put in an appearance.

CLERK::

Here's your stuff

[hands over bag with Littrell's wallet and other personal items]

LITTRELL (taking bag):

Where can I get a lawyer?

CLERK:

Plenty of them within a block of courthouse square.

LITTRELL:

You got a TV station in this burg?

CLERK:

Closest one's Shreveport.

LITTRELL:

What about a paper?

CLERK:

Millandon Monitor. Fifth and Main.

LITTRELL:

Well, watch the front page.

[Exits]

Scene 6.

Garrett home, dinner time. Mrs. Garrett is just setting the table when the doorbell rings. She goes to answer it.

MIDDY (framed in door):

Sorry I didn't call. Something came up.

MOM:

We were just going to invite you over, but we couldn't reach you at the office, and here you are.

MIDDY:

Yeah, here I am.

MOM:

Well, how about being inside? I can whip up some extra helpings.

DAD (off):

Is that our Middy?

MOM (turning head):

Sure is! Going to need some extra help in the kitchen.

Scene 7

At Garrett dinner table. Should look like home cooking, not something out of the freezer. We catch Middy in apparent mid-conversation.

MIDDY:

..... So Karen's going to be late anyway, working on a case. And I miss the home cooking. But that's not why I came, I'm worried about something.

DAD:

Something to do with that other life of yours? Did somebody catch on?

MIDDY:

Nothing like that. If even you can't recognize me with the costume... It's just that I discovered another way I'm different. And it scares me...... Have you ever heard of a kid named Bobby Littrell?

DAD:

Can't say that I have.

MOM:

There's a Ruth Littrell, works over at the beauty parlor. But she doesn't have any children.

MIDDY:

She does. Or did. Bobby. He was on the football team. His father was here looking for him and made a scene at the SCU and got thrown in jail. I remember Bobby. I didn't really know him; he wasn't the kind of guy I wanted to know. But I remembered him, and nobody else here does.

MOM:

It sounds like a bad dream. Are you sure it isn't a dream?

MIDDY:

For Heaven's sake, Mom, they were talking about it at work. They had what looked like proof about Bobby from some town in Arkansas where Ruth's ex-husband is from. They were getting freaked out about it.

DAD:

Sounds like something out of the Twilight Zone. I don't believe it.

MIDDY

You didn't believe me being Athena, either.

MOM

Maybe that Mysterious Stranger of yours could help.

MIDDY:

Only I can't reach him. He just reaches me. Somehow.

Scene 8

Dorothy Randall on the phone from her office. Early morning. There is a folded newspaper on her desk, which she hasn't gotten to yet. She also has a coffee and a danish.

RANDALL:

So the tests are negative?

[Listens to doctor on the other end, while taking a bite of her danish.]

RANDALL (talking with her mouth full):

But it's not a tumor, you're certain of that?

[Listens again, while finishing bite of Danish]

RANDALL:

The what?

Listens again, more Danish.

RANDALL:

The dream center, right. Would that give her nightmares?

[Listens again, swig of coffee]

RANDALL:

I'm not arguing with you. It's good to know that her health isn't in danger..

[Listens again, between Danish and coffee]

RANDALL:

I'm only the school psychologist. I'd have to give a referral. And her parents would have to approve, of course.

[Listens again, while taking a swig of coffee.]

RANDALL:

You've already told them about the test results?

[Listens again, more coffee]

RANDALL

You know I can't tell you that. And I can't even tell them -- not without her permission. Let's just say it's a delicate matter. Let me take it from here. Ciao.

[As she hangs up the phone, she finishes the coffee and consigns the cup to the wastebasket. She picks up half-eaten danish with her left hand, and opens the paper with her right. We can't see exactly what she's reading, but she's suddenly alarmed. She drops the danish.]

[We hear a scream, but it's not from Dr. Randall. Sudden transition to ---

Scene 9

Amy Burgess, in school restroom. Somebody has discarded a paper there. On the front page, a copy of the same picture we've seen before, under the headline:

FATHER CLAIMS SON DISAPPEARED

MOTHER INSISTS IT MUST BE HOAX

Scene 10

School hallway. Amy is marching down it, but not to her classroom. She stops at Randall's office, is about to knock, then changes her mind, and heads for the outside door at the end of the corridor. A school security guard tries to stop her,

GUARD:

Hey, miss, you can't..."

[Amy ignores him, heads out the door, Guard gets out his cell phone.]

Scene 11

Amy Burgess walking down street, as if in a trance. We see her first from the front, then from the rear, As she walks into the distance, the camera pans back and a bit to the right, to reveal that she is being watched by Zarus.

Scene 12

SCU headquarters

[Louie Thompson is having a huddle with Jason Riley and Karen Blaylock.]

LOUIE:

So let me get this straight. We have a missing kid who's never been seen here, but everybody know about back in Poser-

RILEY:

Posey.

LOUIE:

Whatever. And now the father's threatening to sue everybody in sight, because you had him thrown in the slammer. You call me up about those pictures and shit, but you leave him there to get a hard-on for the whole town.

RILEY:

Hey, you were the one said, "Just check out his story." So we did. Took all night running down people who might have known the kid. Had the school office opened special. We pissed off a whole bunch of people, and came up with squat. So as far as I was concerned, Jacob Littrell could keep squatting where he was.

LOUIE:

And you hadn't checked with Posey?

BLAYLOCK:

We had. They just didn't get back to us till the morning.

Scene 13

Main office, Millandon High School, Dorothy Randall is consulting with the school attendance officer.

RANDALL:

I'm looking for Amy Burgess. She was supposed to see me this morning,

[Attendance officer does computer search. This takes a few moments,]

ATTENDANCE OFFICER:

She was reported present in at her homeroom. But - she hasn't reported in to her first period class.

[Enter security guard]

GUARD:

Just had a girl run out the front door. Anybody here AWOL?

ATTENDANCE OFFICER:

Amy Burgess. Did you see where she was going?

GUARD:

Just ran down Magnolia Street.

RANDALL:

That's the opposite direction from where she lives. We'd better call her parents. And the cops.

ATTENDANCE OFFICER:

What's your interest in this?

RANDALL (hesitates):

She came to me with a personal problem. And now it looks like that problem's worse than I thought it was.

ATTENDANCE OFFICER:

We'd better get Roy in on this.

Scene 14

Inner office of Roy Huckabee, school principal

HUCKABEE:

So you say this girl has a "problem." What kind of a problem?

RANDALL:

You know I can't violate privilege.

HUCKABEE

Any idea where she might go?

Randall shakes her head.

HUCKABEE:

Well, the police have the missing person report by now. And--

[Huckabee's intercom buzzes. Voice from receptionist outside.]

VOICE:

Her parents are here.

HUCKABEE:

Oh boy, I guess we're in for it now.

Scene 15

Amy walking through a rough part of town, without direction or purpose. People turn and stare at her, exchange comments. A couple of low-life guys seem especially interested.

FIRST LOW-LIFE:

She spaced out or something?

SECOND LOW-LIFE:

Like to get into her space!

FIRST LOW-LIFE:

Better save her for Jerry. He don't like us free-lancing.

SECOND LOW-LIFE:

Man, he'll just use her up and trade her off to that other gang.

FIRST LOW-LIFE:

They're some strange dudes. All that voodoo shit.

SECOND LOW-LIFE:

Yeah, they really got a thing for virgins, you know. 'Spose she's a virgin?

FIRST LOW-LIFE:

Word is they'll pay a lot for a virgin. Deal us all the drugs we want. You grab her while I call Jerry.

[First low-life gets on his cell phone, while second goes after Amy. Camera follows him, leaving first low-life behind.]

SECOND LOW-LIFE:

Hey, baby, like to have some fun?

AMY (in monotone):

Go away.

SECOND LOW-LIFE:

Is that any way to talk?

AMY (monotone):

Go away, or I'll make you disappear, just like Bobby.

SECOND LOW-LIFE:

You crazy or something? Who's Bobby?

AMY (a bit of animation):

He's nobody. You're going to be nobody if you don't let me alone.

[She tries to push him away; he grabs hold of her.]

AMY (beginning to register alarm):

You can't take me! You can't!

SECOND LOW-LIFE:

Oh can't we?

Scene 16

Later, but still in Huckabee's office. Dan and Myra Burgess are there, along with Huckabee and Randall.

HUCKABEE:

The police are out looking for her. We know which way she went.

DAN:

Where?

HUCKABEE (A bit reluctantly):

Down Magnolia....

DAN:

But that's the worst part of town.

HUCKABEE:

We know that. So do the police.

MYRA

Is something the matter with her? Why didn't you come to us?

RANDALL:

Dr. Roberson did. You approved the tests. I thought she might have a medical problem, in which case it would no longer concern me.

MYRA:

Well, what kind of a problem is it?

RANDALL:

I can't tell you about that.

DAN (animatedly):

You can't?

RANDALL (stoically):

No, I can't.

DAN (animatedly):

What's the world coming to when every Tom, Dick and Harry except the parents can know what their kids are up to? Bet you told Roy here.

HUCKABEE:

No, she didn't. I'm as much in the dark as you are, and I don't like it.

Scene 17

Amy being held in drug gang's den. Bound and gagged. Camera focus remains on her face, expressions of pain and anguish, as gang members perform a "medical" examination to determine whether she's a virgin.

FIRST LOW-LIFE:

Hey, Jerry, we've hit the jackpot!

JERRY:

Those voodoo freaks are gonna love us.

FIRST LOW-LIFE

Yeah, their eyes are just gonna bug out when they see what we're bringing.

JERRY:

Well, you're just gonna have to imagine it, 'cause it's your turn to hold the fort.

FIRST LOW-LIFE:

She-it!

JERRY:

You got that right. You're here to guard our shit.

[Amy, who has been struggling in the background, seems to have a revelation. She relaxes, apparently trying to fall asleep. Jerry turns to look at her, evidently noticing that the sounds of struggle have ceased.]

JERRY:

Wake up, sleepyhead. You've got an appointment. An appointment to die.

[As other low-lifes gather her up and take her out the back door, he has a parting word for First Low-Life.]

JERRY:

You tell them what we're bringing. You tell them we meet at the usual place. You tell them we're expecting a sweet deal.

Scene18

Cult headquarters. Thanus on receiving end of call from First Low Life.

THANUS:

Then it is agreed.

[Listens to First Low-Life]

THANUS

We shall naturally bring what you require.

[Breaks connection]

ACOLYTE:

But Master, we do not have enough....

THANUS:

We can easily make up the difference in lead. Or by other means. The important thing is to preserve the integrity of the sacrifice.

ACOLYTE:

The Master, our long awaited, can trust in us, his humble servants.

OTHER ACOLYTES (in chorus):

It is even so!

THANUS:

We must rededicate the altar.

[Thanus and others turn towards the altar, kneeling]

THANUS:

Pozhar, gulyai s mnoi!

ACOLYTES:

Pozhar, gulyai s mnoi!

[Thanus casts some sort of spell over the altar, which begins to glow with an eerie light.

THANUS:

Utkin adarab utalk!

ACOLYTES:

Utkin adarab utalk!

THANUS:

Gather ye then at the appointed place, and collect that which is ours

Scene 19

Uniform cops on patrol in rough neighborhood spot First Low Life, who has taken time out from guarding the drug gang's den to get a six-pack from a corner store. They know who he is, but also know there's nothing they can do without a warrant or evidence of a crime. Still, they slow their car. A young boy sees this and runs up to the driver's side. Cop driving car pulls up.

BOY:

They took a lady into their house. She didn't want to go.

FIRST COP (surprised but reacting quickly):

You mean that guy's gang?

[Boy nods.]

FIRST COP:

You're a brave kid. What's your name?

BOY:

Billy, Billy Tolliver.

FIRST COP:

Well, Billy, you've been big a help to us. But you'd better run home now. We can find you later, but we don't want the bad guys to find you now, okay?

[Boy nods again, then runs off.]

FIRST COP

I think we've got our missing teen. Let's call it in.

[Gets HQ on radio]

FIRST COP:

We've got a possible 207 at 971 South Magnolia Street. We need backup and the SCU. Code Purple, Code 2.

VOICE:

10-4

SECOND COP:

Let's just hope we don't already have a 261.

[Cops pull ahead to intercept Low-Life at entrance to gang HQ,]

FIRST COP:

Hey asshole.

[Low-Life ignores them. Cops stop car and get out, approaching low-life, guns drawn.]

FIRST COP:

You hard of hearing, asshole?

FIRST LOW-LIFE (trying to be defiant):

You talkin' to me?

FIRST COP:

I don't see any other assholes here. On the ground and spread 'em, hands behind your head. You know the drill.

[Low-life reluctantly complies.]

FIRST COP

Cuff him, Todd.

As Todd cuffs suspect, other cop cars begin arriving, running without lights or sirens as per Code 2

Scene 20

Elkins Lake, ironic site of the meeting between the drug gang and the cult. Summer house can be seen in the background. Jerry and his gang approach from one direction, Cultists from another, following their local leader (not Thanus).

JERRY:

You got the stuff?

CHIEF ACOLYTE:

You got the virgin?

JERRY:

Let's show them what we've got.

[Two low-lifes frog-march a dazed Amy forward and throw her on the ground. She lies there, barely moving.]

CHIEF ACOLYTE:

Wake her up. Let us see her, and let her see us. See the Master.

[One of the low-lifes kicks her savagely']

LOW-LIFE:

On your feet, prom queen.

[Amy struggles to her feet, and looks around, in puzzlement and then in recognition.]

AMY:

This is not happening. It never happened. Make it didn't happen.

JERRY:

She ain't quite right in the head. But I figure that's no never-mind to you all.... So, how about our stuff?

[Chief acolyte steps forward for a closer look at Amy, nose twitching as if he can smell her essence.]

CHIEF ACOLYTE:

You have deceived us. This is no virgin.

JERRY:

What's this shit? You trying to rip us off?

[Waves to the two low-lifes, who start dragging Amy back.]

CHIEF ACOLYTE:

None dare cheat our Coven, None dare deceiver the Master. Punishment is swift and sure. Prepare to die,

JERRY:

Prepare to die yourselves, you pathetic creeps!

[At a gesture, the gang members all reach for their guns]

Scene 21

Drug den. Middy is taking crime scene photos as Jason Riley and Karen Blaylock are in the midst of interrogating the low-life left in charge there.

RILEY:

When you get the state's needle, it's nothing like the needle you're used to.

FIRST LOW-LIFE (defensively):

I don't do that stuff myself. None of us does.

BLAYLOCK:

And if anything happens to that girl and you could have stopped it, you'll get that needle. This is still a red state.

RILEY:

Only we might do you first. Who's going to miss a piece of crap like you?

FIRST LOW-LIFE (to Karen):

Are you going to let him get away with this?

BLAYLOCK:

With what? I didn't hear anything.

[Low-life life looks at her, then a Jason, then back at her. No sympathy in her face. He knows the jig is up.]

FIRST LOW-LIFE (terrified):

All right, all right. Elkins Lake.

[Middy freezes. She knows she has to get out of here and go to the rescue, But how? After a moment of indecision, the answer comes to her. She disables the camera, then raises it as if to take another shot. Riley's already on police walkie-talkie.]

RILEY:

Riley here. That 607 is at Elkins Lake. Code purple, Code 2. Need immediate backup. We're heading there now.

MIDDY:

Shit, damn thing's jammed.

RILEY:

You must be about through here, and we sure don't want you out there. Head back to HQ. The uniforms can take it from here. Nobody's going to get in to disturb the scene. Come back if you really have to; otherwise, call it a night.

[Turns to Blaylock]

RILEY:

Time to rock and roll.

[Camera follows Riley and Blaylock out the door to their car. Middy hangs back for a moment, then heads out herself as Riley's car peels off. Drives her car slowly, only about a block, and makes a turn.]

Scene 22

Dark alley somewhere nearby. Middy strips off her clothes to reveal Athena in costume. Throws civvies in car, and then it's up, up and away.

Scene 23

Elkins Lake. Drug gang and cultists blasting away at each other. Amy is lying on the ground, being ignored for the time being by the antagonists, who have taken what cover they can, when Athena drops in. Guns fall silent for a moment.

LOW-LIFE:

Who the hell is she?

JERRY:

It's that super-bitch. She must be working for them

[Cut to Cultist side]

CULTIST:

Who the hell is she?

CHIEF ACOLYTE:

It's that super bitch. She must be working for them.

ATHENA (off):

I work for justice!

[Cut to Athena, as both sides open up on her. She levitates to draw their fire upwards, away from Amy, as the latter is crawling away towards the cabin. When Amy seems to be out of range, she swoops down and bullets ricocheting from her body do in everyone but the cult leader, who casts some sort of warding spell. Cult leader evades her, then takes aim at Amy and fires. Amy, nearly at door of summer house, jerks.

CHIEF ACOLYTE:

Your efforts are for naught. You cannot defy the will of the Master.

ATHENA:

You bastard!

In her fury, she mashes his head in. He's dead. She turns to Any, finding her wounded in the head but still alive.

Scene 25

Aftermath at Elkins Lake. Athena has improvised a head restraint for Amy from bits of wood and tape from cabin. Zarus approaches. She senses his presence somehow.

ATHENA:

I don't have time to talk to you. I've got to get her to the hospital.

ZARUS:

Don't.

ATHENA:

I don't take orders from you, Mysterious Stranger. The uniform may be yours, but my will is my own.

ZARUS:

You know what she has done. Might well do again.

ATHENA:

But she's innocent, perhaps the only innocent here.

ZARUS:

She should be allowed to die. It would be a mercy to her, and to the world.

ATHENA:

Get thee behind me, Stranger!

[Gathers Amy in her arms and takes off, flying towards County General Hospital. We hear police sirens in the distance.]

Scene 26

SCU headquarters, next morning. Louie Thompson, Jason Riley and Karen Blaylock in after-incident conference.

LOUIE:

So what you're saying is, these guys all shot each other.

BLAYLOCK:

Seems it's getting to be a habit around here.

RILEY:

I'll say.

LOUIE:

What about the guy who's head was smashed in?

RILEY:

Maybe he was hit by a meteor.

LOUIE

One of these days, Jason, one of these days....

Scene 27

Middy at Garrett home

MOM:

So what were you up to last night?

MIDDY:

The usual.

DAD:

Right, the usual

Scene 28

County General Hospital Burgess parents pacing outside surgical wing. Dr. Roberson emerges.

ROBERSON:

She's going to make it.

MYRA:

Thank God.

DAN:

Is she going to be..... is there going to be permanent damage?

ROBERSON

We don't think so. The bullet lodged in an area that seems to be redundant. Just a backup for other functions. We'll know for sure after she's been up and around for a while.

Scene 29

County courthouse Subitlitle, "A Week Later

JUDGE:

I have examined the pleadings and the evidence in this case, and decided to dismiss plaintiff's action with prejudice. I have no other choice.

Ruth Littrell, Jason Riley and the other defendants look relieved. Not so Jacob Littrell.

JACOB LITTRELL (rising from plaintiff's table):

The hell you don't! Are you in on this too?

[Jacob's lawyer tries to restrain him. Judge raps gavel.]

JUDGE:

Counsel will please advise plaintiff that another such outburst will result in him being held in contempt.

COUNSEL:

I appreciate that, Your Honor,

JUDGE:

As I was about to say, we are faced with an unfathomable mystery. A teenage boy who came from Posey, Arkansas, to live with his mother, but who has never been seen here, even by that mother. I have seen the court papers from Arkansas. I have spoken with the judge there, and other parties involved.

I have no reason to doubt that Robert Littrell is or was a real person. What can have happened to this young man? Was he a victim of foul play here, as plaintiff insists? I find no evidence of that, Not only is there no evidence to support his claims, but all defendants have submitted to polygraph exams, and none of those exams have indicated that they had even heard of Bobby Littrell, led alone had any criminal contact with him.

I can only rule that whatever happened was an Act of God, for surely no human agency could have been responsible.

COUNSEL:

But--

JUDGE:

You want to sue God? Think you'll get him into court? This case is closed.

Scene 30

Subtitle: three weeks later.

Amy Burgess is changing classes at high school. Her hair is still short on one side, but she seems otherwise normal. A school pest approaches her, with a line he uses a lot.

PEST:

Hey baby, can I get in your pants?

AMY:

No thanks, I've already got an asshole.

[Walks right on past]

PEST:

Yeah, up yours!

Scene 31

Amy asleep in bed. We see rapid eye movements. Then we see her dream, Pest is bothering some other woman at the head of the stairs in school. He doesn't watch where he's going, slips and falls down the stairs. From his cries of pain and the way his body is twisted, we conclude that he has been seriously injured.

Amy awakes, a frightened look on her face. She looks at the alarm clock on her night table. It says 4:07 a.m. She tries to get back to sleep, but doesn't seem able to.

Scene 32

Amy walking to school the next morning, looking haggard. As she approaches the entrance, she hears a voice next to her.

PEST:

Hey, if it isn't Miss Smartypants. Why the scowl? You aren't getting any?

[Amy turns to look. It is the same boy as yesterday. She looks at him in shock, and then delight.\

AMY:

You're still an asshole.

[She walks on, her face lit up. Pest stares at her in puzzlement.]