._ , , . *|, * _ _ -+--+- _. _|* _ || | (_](_) | | (_] (_]|(/, * ._| , , ._ . . . . . _ . . _ _ -+--+- _. |,. . _.;_/*._ _ |*. , _ _| _ _ _| \_|(_)(_| (_](_) | | (_] | (_|(_.| \|[ )(_] || \/ (/, (_](_)(_)(_] ._| ._| ._| A N O V E L B Y M A R T I E " M U R D S " M O O D ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Chapter X ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: (4/25/25 9:59 p.m.) "A zombie film is not fun without a bunch of stupid people running around and observing how they fail to handle the situation." -George A. Romero, in an interview with the Washington Times (2010) FADE IN: =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER CITY CENTER -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= As the sunlight dies out, Alice is escorted to the gallows. The town has gathered for the show. With her hands bound with rope behind her back, the woman stares down the noose. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER THEATER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= The ACTING TROUPE runs every which way in the theater as it prepares for its performance of "Machinal." The TROUPE LEADER stands on stage directing the main character HELEN and her MOTHER through a scene. Behind them, a set of jail cell bars. Sitting at the edge of the stage is the actor playing the PRIEST, taking a drag off a cigarette. MOTHER: You're crazy. HELEN: Oh, Ma! MOTHER: You're crazy! HELEN: If you say that again I'll kill you. TROUPE LEADER: Colder, honey, lemme feel your anger. MOTHER: Well, if that isn't crazy. HELEN: I'll kill you. Maybe I am crazy. I don't know. I do the best I can and I'm nearly crazy. You ain't got any pity. And you just take advantage, every week, more money I bring, every week after work, more and more. You just take it for granted, you do, Ma. The Mother begins to quietly sob. TROUPE LEADER: Loud enough for the back to hear you, sweetie! Come on, let's go. Project! MOTHER: My own child! To be spoken to like that by my own child! HELEN: Oh Ma, forgive me! I didn't mean it! The Troupe Leader cuts the performance. TROUPE LEADER: Alright, alright, you're as in tune as the piano. We need to run through the ending one more time, though. (to Priest) Hey, Priest, move your ass. The Priest rolls his eyes. He flicks the cig into the aisle. Watching from the back of the house, biding their time: Milton and a swath of NIMRODS. Manco isn't present. MALE NIMROD: Would love to hear her from the back. The hunters cackle. A YOUNG MAN enters and addresses Milton. YOUNG MAN: Mr. Freed, sorry. An envoy from St. Anthony has arrived. I think you'll want to hear from him now, sir. MILTON: So be it. Boys. behave yourselves. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER CITY CENTER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice walks to the gallows, passing by judgmental faces. PRIEST (O.S.): Hear, oh Lord, my prayer, and let my cry come to Thee. I have watched and become as a sparrow all alone on the housetop. All the day long my enemies reproach me. My days have declined as a shadow, and I'm withered into dust. Alice looks at the mountains and its foreboding caverns. PRIEST (O.S.): But Thou, oh Lord, end rest forever. Thou shalt arise and have mercy, for it is time to have mercy. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER THEATER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Helen stands behind the jail cell bars with the Priest standing on the opposite side closer to the front. HELEN: Not for this. Not for this. Father. Father! Why was I born? Life has been Hell to me, Father. PRIEST: Life has been Hell to you, daughter, because you never knew God! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER THEATER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Milton receives information from the ENVOY. It angers him. HELEN (O.S.): How could I know him, Father? He never was around me. MILTON: I'll find the squaw. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER CITY CENTER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice finally reaches the gallows, a hanging noose greeting her. An EXECUTIONER stands waiting for her on the platform. PRIEST (O.S.): You didn't seek Him, daughter. Seek and ye shall find. HELEN (O.S.): I sought something. I was always seeking something. Alice walks up the scaffold and stands at the center. The noose is placed around her neck by the Executioner. HELEN (O.S.) (cont'd): Peace. Rest and peace. Will I find it tonight, Father? PRIEST (O.S.): Trust in God. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER THEATER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Helen and the Priest stand on stage, anticipating something. TROUPE LEADER: For Christ's sake, you're late, crew! Bring out the damned electric chair! The Nimrods break out into a cheer. MALE NIMROD: Yes, fry the bitch! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER CITY CENTER -- SAME -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= The Judge, wearing fine robes, stands next to Alice as they look onto Mater's tired, poor, opium-influenced TOWNSFOLK. JUDGE: Let every person be subject to the governing authorities. For there is no authority except from God, and those that exist have been instituted by God. Therefore, whoever resists the authorities resists what God has appointed, and those who resist will incur judgment. For rulers are not a terror to good conduct, but to bad. Scattered cries of praise follow the reading of the verse. JUDGE (cont'd): Three horses have arrived and the way must be made for the fourth by spreading the gospel of our Lord. Before us stands another accursed sinner seeking your guidance. The noble people of Mater have been granted the mission of saving the wicked and the damned during the Great Tribulations, cleansing their impure minds before Christ returns. He turns to Alice. JUDGE (cont'd): Alice Alway. You've been convicted of murder and criminal misanthropy. A chortle from Alice. It draws annoyed glares. JUDGE (cont'd): For that, you must illustrate that you are worthy of our forgiveness. (motions to mountains) And worthy enough to join our thousand-strong silent majority. The Judge receives a black hood from the Executioner and places it over top of Alice's head. Her breathing, in and out, moves the bag the same way. He then signals the Executioner to proceed. He takes the rope and pulls it back gingerly. It's a practiced method. The noose chokes Alice's throat. She strains for air. JUDGE (cont'd): Your repentance begins now. The Executioner pulls the rope further, enough to lift her feet slightly off the ground. Alice points her toes down onto the floor to relieve some pressure. She gasps and gags. TOWNSFOLK (chanting): Repent. Repent. Repent. She tries to keep herself from swinging, to keep her toes firmly on the platform. They scratch and bat at the surface. JUDGE: It can all be over. All you need to do is lift your legs. Embrace death. TOWNSFOLK: Repent. Repent. Repent. The Executioner pulls back even further. JUDGE: Lift your legs! I know you want to, I know you want out of this existence. So, lift them! Give up on this world! She stretches her legs, flushes her feet vertically towards the floor. But just as she's able to ground herself, she swings and loses it. Her body trembles from head to toe. JUDGE (cont'd): Redemption through pain, this is how we cleanse our spirits, woman. Pain. He draws close to Alice for a moment, so only she can hear. JUDGE (cont'd): Lift them, whore. Become our shit. The Executioner now lifts her into the air. She's helpless, slowly dying in air. The crowd watches like moths to light. JUDGE (cont'd): I ask, citizens of Mater, has this tainted woman repent for her sins? TOWNSFOLK: Yes! JUDGE: Again, has she repent for her sins? TOWNSFOLK: Yes! JUDGE: I ask once more, is she redeemed!? Suddenly, a violent shriek rings out from the mountains, silencing everyone sans Alice and her choking gags. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. CAR -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Milton drives his car down to the fenced-in cavern. When he arrives, he is startled to find Manco standing in the road. A visage of calm, Manco stares him down. Seeing behind her, Milton turns aghast. He reverses his car and escapes. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER CITY CENTER -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice can only listen to chaos ensue. She falls back down. Realizing something has gone awry, Alice, gasping for air, pulls her legs over her restraints and tears off the hood. Hundreds of UNDEAD emerge from the mountains and fill the streets of Mater, overwhelming the doomed townsfolk. Close by in the distance, a mass of people trample their way to the town's tightly sealed border walls but are unable to get through. The TOWN GUARDS fire their weapons on the crowd, but it just helps to draw more undead over to them. It's a massacre. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER STREETS -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Her hands still bound, Alice pulls off the noose, gets to her feet, and runs to the nearest alleyway to briefly hide. ************ **ALLEYWAY** ************ Freshly turned, the undead move quicker and with more alertness than rotters. Hordes of them fall upon people, and then immediately move on in reaction to sights and smells. Fires have begun to break out, with gas lamps and torches falling precariously around straw and the wood buildings. Despite the mass number of undead already roaming and trampling over people, the mountain seems to spew more and more. ALICE: Like the mouth of Hell. Calming her breathing, Alice slowly moves down the alleyway. Nearing the end, she sees an UNDEAD tackle a MAN in front of her. Resigning him to his fate, she looks to a window above. ********* **HOUSE** ********* She enters the residential home. She sees a FAMILY attempt to hold their front door shut as the dead bash into it. Alice whisks to the other side and jumps through the window. **************** **BACK GARDENS** **************** A dry garden shared by numerous houses, many people are rushing through, but at the center, two BICKERING MEN fight over a rifle. Eventually one seizes it away and shoots the other dead. The gunman catches Alice, aims at her, and fires. Alice darts away before any shell can hit her. **************** **BUSY STREETS** **************** She rushes on to a main street, carnage happening all around her. She spots the cross of the hospital in the distance. Suddenly, a speeding car flashes by, nearly clipping her. The vehicle errantly hits people like a plow before crashing. ******************** **ANOTHER ALLEYWAY** ******************** She rushes down into a thin street, buildings on both sides, only to be cut off by numerous FRESH UNDEAD. She turns around. Her escape is blocked by even more creatures. Alice notices that one of the buildings has a crawl space. She kicks through the wood grating and hurriedly dives in. ************** **CRAWLSPACE** ************** Nearly impossible to see, she hustles as fast as she can to the other end, where the way appears clear. She catches more dying to the horde on the streets as she scurries across. Some UNDEAD even begin sliding under the building after her. *************** **ROCH STREET** *************** She escapes before any of the undead can grab her. At her feet, she begins walking toward a clear path -- Roch Street. She peeks around. Doomed screams echo through the smoky black night but the mayhem isn't as prevalent on this block. Just as she begins walking toward the hospital entrance, a gun clicks. Alice stops in her tracks. She knows who it is. ALICE: When I said a few people may die-- Manco steps closer to Alice, pointing the revolver at her. MANCO: Shut up! ALICE: Just surprised. You of all people. MANCO: Fuck them. They stole me away. And then they erased me. Told me I was worthless without them. But they're nothing but slavers and cannibals. Manco tightens her grip, her hand trembling with rage. ALICE: Well, Manco. Get on with it then. MANCO: No. No, not until you tell me. Tell me why you brought me here, Alice? Alice bites her tongue, tasting iron. MANCO (cont'd): Who is Gwen Griffith? She shakes her head. MANCO (cont'd): Answer. Fuck her. Alice starts walking again, ignoring Manco. MANCO (cont'd): Hey, where are you going?! Manco hurries over to grab her, but Alice pushes her back. ALICE: Back off! MANCO: B-but I have a gun! Manco reaches for Alice again, and Alice again repels her. ALICE: I said get off me! MANCO: What are you doing!? ALICE: I need this! MANCO: Why!? Alice strikes Manco across the face. Falling to her back, Manco raises the gun up at Alice, her finger on the trigger. Alice is disgusted with herself. She sucks on her bottom lip to stop it from trembling. She can hide the truth no longer. ALICE: She's my mother and she's all I've got left in this world to absolve me. MANCO: Absolve you of what? ALICE: She kicked me out of her life after I ended a pregnancy. And everything has been Hell since. I just need her to forgive me before it's all too late. Before I pass. She needs to know I've changed. I'm better. I'm good. MANCO: Do you think it was a mistake? ALICE: It doesn't matter what I think. MANCO: Jesus Christ, of course it does! ALICE: It's not my right. MANCO: Shit Alice, if you were born Native, it would be to your sole discretion. ALICE: It doesn't matter. MANCO: But, but she hurt you. She should be begging for your forgiveness, Alice. ALICE: You know what, I don't need your pity. And who are you to lecture, you want me dead over something I don't even remember. I don't want to feel guilty anymore. And if you don't understand that, then why are you hounding me? Take your shot or leave. Alice invites Manco to end it. The girl rises to her feet, never breaking her aim. Manco takes a breath and readies herself. But she can't do it. Alice turns and enters the hospital. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER HOSPITAL -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice enters the lobby, benches and papers scattered about. ********* **LOBBY** ********* She walks over to the front desk, spots a scalpel. She grabs the knife and cuts through her restraint. With the scalpel at the ready, Alice carefully walks down the hallway ahead. *********** **HALLWAY** *********** There are numerous windowed doors closed on either side of the hallway. At each door, Alice checks the medical charts. At one, she finds an eerily calm UNDEAD PATIENT staring out the door's window. She walks up and looks into its eyes, her reflection outlining the creature's frame. She moves on. A few failed attempts later, she finds it: Gwen Griffith. *************** **GWEN'S ROOM** *************** Alice enters the room to find GWEN lying awake in her bed. A frail and thin specter of a person. Her chest barely pulses. Alice is in disbelief; it's really her. She walks over, kneels by the bed, and grabs her mother's cold, alone hand. ALICE: Hey, Ma. It's me. Alice. Gwen barely reacts, her eyes affixed to the ceiling. ALICE (cont'd): I can't believe I found you. But you're here. You're right here. Gwen remains silent. Alice reaches out and turns her head. ALICE (cont'd): Ma, it's Ally. GWEN: Ally. Alice breaks into a cheerful smile. Tears well in her eyes. GWEN (cont'd): Ally, did you bring in the paper? Confusion suddenly washes over Alice. She shakes her head. GWEN (cont'd): I know things are tight, but wouldn't it be grand to visit the theater? ALICE: Ma? Gwen now seems confused herself. What's happening? ALICE (cont'd): Ma. Ma, do you remember? GWEN: Remember what, darling? ALICE: Do you remember what you said the last time we saw each other? GWEN: I suppose I said goodnight after you came home. Like I always do, Ally. Alice starts sobbing. Her world, her crusade is crashing down around her. GWEN (cont'd): Oh, don't cry, Ally. You know what I remember? When you were a little girl in Armenia, we would write letters to each other. You'd be hard at work on one, telling me all about your day, even though I was just down the hall. Your father thought we were crazy. He never fully understood me and you. Alice, her crying eyes cast down to the ground, nods. GWEN (cont'd): I miss that. ALICE: You took that away. Gwen shuts down again. Her eyes are open but she's lost. ALICE (cont'd): It's your fault. If you just accepted me, we could've -- And now 20 years, our lives are dead and gone, Gwen! Gwen's breathing suddenly becomes erratic and labored. Alice wakes from her sadness. She jumps to her feet, but in doing so, inadvertently kicks something from under the bed. A bottle of whiskey rolls out to the middle of the floor. Gwen reaches out for it like it's a life raft. Gwen's fingers twitch. Then fall. Her breathing stops. Alice stands shell-shocked. Her breath stifled, she stares down at Gwen. Then, she moves to the middle of the floor. The bounty hunter picks up the bottle and begins downing the liquid. Through the window, she sees a dust storm hit Mater. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER HOSPITAL -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Wind whips fire and dirt around Manco, who stares at the gun in her hands. Anger filling her, she enters the hospital. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER HOSPITAL -- CONTINUOUS -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Manco walks through the lobby into the hallway and begins checking each room. A sudden banging causes her to jump. She looks to see the Undead Patient attacking the door at the sight of Manco. Vicious. She moves away and approaches Gwen's room. As she peers in, she sees Alice sitting at the far end of the room, downing alcohol. The bed moves. An undead Gwen emerges. Shit. Manco goes to open the door but finds it locked. She bangs her shoulder into the door over and over as Gwen's corpse inches closer and closer toward a complacent Alice. *************** **GWEN'S ROOM** *************** The door cracks open. Manco runs in and puts a bullet into Gwen's head. Alice stares blankly as Manco pulls her up. ********* **LOBBY** ********* Manco pushes Alice forward into the lobby. MANCO: The hell were you thinking? Alice sits down and watches the inferno outside. MANCO (cont'd): Well? ALICE: I don't know, darling. I don't know. Alice takes a heavy swig, whiskey dribbling on her clothes. She's already gone. MANCO: Guess the reunion went swimmingly. Alice looks up at Manco -- and even suppresses a smile. She reverts her gaze back to Mater and its destruction. The storm has tossed dirt and flames all about the settlement. MANCO (cont'd): They deserved it. They deserved it, Alice. We built it. We built it all. And so as far as I'm concerned, we have the right to burn it down. Alice understands. ALICE: I knew these sorts of folk back in the old world. Everything and the truth is expendable for power. (a beat) Manco, there will be consequences. You must know this. Manco is fixated on the fires. She suddenly grows distressed, her body shaking and teeth clenching. MANCO: Oh, shit. Oh, goddammit. Alice turns to Manco. She carries sorrow in her eyes. The girl reaches to her absent arm and begins sobbing heavily. MANCO (cont'd): I didn't want it to be this way. I just wanted to live a life. And then you took her from me. And now Milton. ALICE: What happened to Milton? MANCO: What? ALICE: Manco, what happened to Milton? MANCO: I saw him drive out of here. He knows I'm not meant to be here. He's going to tell some story, he's going to-- ALICE: I'll take care of him. MANCO: What? ALICE: Just, you go somewhere and hide out. MANCO: Nearby. Fort Uncompahgre. But they'll ask questions. Everyone's going to ask questions about what happened. ALICE: Then tell them what happened. Manco is frightened at that suggestion. Alice notices. ALICE (cont'd): Or tell another story. MANCO: Even if I end up blaming you? Alice pauses a minute for a consideration. But dismisses it. ALICE: People like me have been telling the story for so long. Say what you will. The two look at each other. Alice puts her hand out. Manco pulls out the revolver and gives it over. Alice stands, resisting her drunken, dizzy state. ALICE (cont'd): Say. Why did you hold my hand before? When I was locked up and begging? Manco smiles. She can't believe she did that. Who is she? MANCO: Stories. Indians see life all around. Whites see death and pain. Being so close to an enemy, to be able to touch them, know they're alive. It was courage. It was honor if there ever was any in war. I don't know. The storm is in a lull but looks ready to pick up with even more intensity. It's time. Alice turns around. ALICE: Manco. I am sorry. A nice sentiment from the drunk, but Manco is unresponsive. She looks numb. ALICE (cont'd): Remember what she stood for. Manco looks up, her eyes sullen. Does Alice remember?, she seems to be thinking. She doesn't move, though. Not an inch. Alice turns back to the entrance and leaves the hospital. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. MATER STABLES -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice opens the doors to a stable, half on fire. A single pale horse remains. She jumps aboard and hurries out. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER HOSPITAL -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Gathering herself, Manco takes a moment to sit and breathe. She reaches into her coat pocket and pulls out her photo. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. COLORADO PLAINS -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice gallops across the plains, liquor in hand. She swerves away from UNDEAD as she heads back towards St. Anthony. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. MATER HOSPITAL -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= The picture is as clear as day. The portrait of a young Black woman, though it must have been taken in the late 1910s, around the time of the Great War. EVELYN VIDAL. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. JOHN EVANS HALL -- NIGHT (FLASHBACK) -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Evelyn, now in her 40s, enters John Evans Hall circa 1939. She looks around suspiciously, ensuring the coast is clear. **************** **STORAGE ROOM** **************** She walks to the back but stops in her tracks at the sight of a young woman. Alice Alway. Clearly drunk, Alice holds in one hand a shiv and the other a bottle of rye. She smiles. Evelyn discreetly motions behind her, as if signaling to someone just out of sight. ALICE: Hi Mrs. Vidal. The older woman glowers at Alice. She refuses to speak. ALICE (cont'd): Curious finding you here in the administration building so late. Evelyn's eyes look around for a weapon, anything. ALICE (cont'd): Do you know who I am? EVELYN: You're the nurse from the Grove. ALICE: Mhm. Alice Alway. Evelyn doesn't give a shit. ALICE (cont'd): You. All of you got the Commodore and Nimrods all riled up looking for you. EVELYN: I don't believe that they are, Alice. ALICE: Come on. Everyone in the Grove knows. But no one says anything. You come here and write those awful goddamn pamphlets on this awful goddamn printing press. Just dying to foment revolution, huh? Oh, what was it you wrote? "Every nation deserves the government it endures"? Bullshit. EVELYN: Alice, you don't want to do this. You're young. You're drunk. Please. Alice throws the whiskey back. A vehement fuck you. ALICE: You know, I've seen more lives pass than you could ever care to imagine. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. POVERTY CAMP -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice comforts a Dying Man as he struggles for breath. ALICE (O.S.): And I'm utterly useless. I can't fix a stab wound out here. I don't have the equipment to treat asphyxiation from the dust. We live in times where a bite mark is a terminal diagnosis. And I get to sit by and watch it happen over and over and over and-- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. STORAGE ROOM -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Evelyn stares down Alice as she takes another swig. ALICE: I suppose you saw what your lies wrought last night? A goddamn riot? =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. ST. ANTHONY STREETS -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Alice stands watching St. Anthony's chapel burn in the distance. She holds near her heart the liquor. Her savior. ALICE (O.S.): I had to tell families about their loved ones losing their eyesight, falling into comas. Nothing I can do. When people are getting beaten dead. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. STORAGE ROOM -- NIGHT -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Her hands shaking, Alice downs even more alcohol. A terror. ALICE: It's your fault. You told them to break the law. And they got hurt. EVELYN: What if I'm telling the truth, Alice? ALICE: Just shut up, Mrs. Vidal. EVELYN: What if I told you the Commodore has been shipping people to Mater for payment? And those people either end up slaves or left to rot in a cave? ALICE: Shut up! Now, goddammit! Just stop! A shocking lashing out devolves into petty laughing. ALICE (cont'd): You think you're so special. Like there aren't consequences. I broke the rules. And so I lost my family. And you know what else? The fucking world ended. It's like it was the tipping point. Quite an honor, right? EVELYN: That's a lot to put on your own shoulders, Alice. A bit too much. ALICE: It is joy to the just to do judgment: but destruction shall be to the workers of iniquity. The damn Bible. EVELYN: So, what now? You'll become a Nimrod? Join the people abusing us behind the shield of scripture and law? Alice-- ALICE: The law is the law. And we know that the law is good. So says Timothy. Evelyn peers behind her, then back at Alice. EVELYN: I want you to listen to me, Alice. I want to tell you something I don't tell nobody no more. My husband, Hector. Dumb fool fought in the Great War. Gullible bastard thought he was helping his country, and in return, America would help him. When he came back, he was told he'd done enough to earn a Medal of Honor. But he didn't receive that medal. Why's that? 'Cause folks in charge opted to muddy up his record. They omitted what he did. He was as right as a nigger in their eyes. Fortunate for them, he died of a heart attack soon after. I asked a newspaper man to at least share his story so people knew he existed. You know what he said to me? He said, "Why would anyone -- let alone the good whites of Denver -- care about the supposed injustices of one dead spic?" Then the dead arose, Alice. What's the deeper purpose to all of that? ALICE: Mrs. Vidal. I don't care. I don't. It's black and white. You will hang. Evelyn signals for someone to escape, but Alice notices. The young woman looks behind Evelyn to find a child. Manco. Shocked at the sight of the girl, Alice rises to her feet and lurches forward. Terrified, Manco hides behind Evelyn. EVELYN: Leave her out of it, Alice. ALICE: What are you doing with her!? She grips Evelyn's neck and presses the shiv against it. MANCO: Stop it! Stop it! EVELYN: They'll kill her! They'll kill her! ALICE: Why!? EVELYN: She was in Mater! They were going to kill her. Let her be eaten by those things. The Commodore can't know. Alice takes a moment to breathe. She's clearly new at this. EVELYN (cont'd): The girl has nothing to do with this. I'll do anything. Just let her leave. Alice unhands Evelyn. ALICE: Tell the, tell the truth to the people. Before your execution, tell them you l-lied. Everything you said about the Nimrods being abusive, about the Commodore and his deputies. Bunch of lies and, and you own up to the i-injured. And then I'll f-forget I ever saw her. Evelyn swallows her pride and nods. Alice awkwardly motions for her to get rid of the kid as she continues to drink. Evelyn kneels and talks quietly and quickly to Manco. EVELYN: I need you to listen carefully, okay? You need to go to a part of town called the Grove. There are a lot of tiny houses made of wood. You need to find a Mrs. Nishio. Ask the people that live there, they'll know. Don't talk to anyone that covers their face or carries a gun, you hear me, girl? Without alerting Alice, Evelyn takes an envelope full of money out of her coat and stuffs it in Manco's clothing. EVELYN (cont'd): Do not lose this. And do not show it to anyone except for Mrs. Nishio, you understand me? When you find her, you tell her that I'm sorry. Her husband was a brave man. OK. Got all that? Manco nods. Evelyn hugs the little girl and sends her off. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. COLORADO PLAINS -- DAY (PRESENT) -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Dawn breaks as Alice approaches the copse of trees around the barren lake. From nowhere, a bullet whizzes through the head of Alice's horse. The animal crashes to the earth, crushing her leg. Alice yelps in pain. She then clocks the glint of a rifle scope among the dead trees. A man walks out from the distance: Milton Freed. As the man slowly closes in, Alice can begin to see through her bitter tears that the crazed Milton has pinned numerous pages of the Bible to himself. A self-appointed redeemer. MILTON: And what do we have here? Another lying whore in Nimrod clothing!? Milton pulls out a handgun and aims it at Alice. He's ready. ALICE: Wait, wait! I can't! Not like this! MILTON: Oh, what you'll say, what you'll say! See! See before you, you cantankerous whore. A bountiful harvest I shall rain down on to you, by the righteous and guiding hand of the Lord! As it is, as it is so, and as it shall be foretold by the greater multitudes! ALICE: Please! The Lord would look unkindly on killing a woman in such a manner! MILTON: Oh? Oh! What do you know!? Idiot! Think not that I am come to send peace on earth! I came not -- not! -- to send peace! But a sword! A sword, you daft whore! A sword! A sword-- ALICE: Matthew's? Is that Matthew's!? It's not a literal sword, sir! Think now of Matthew 26:52! All that take the sword shall perish by the sword! Milton hesitates a moment. Alice might've gotten her chance. ALICE (cont'd): You must grant me a duel. You must. MILTON: Shut your mouth, woman! I am the sole authority here! I carry His will! No use. But a solution comes to her. Alice begins laughing; antagonizing the man like Manco would. Milton is honestly appalled. MILTON (cont'd): Pray tell, what tickles you so!? ALICE: You, ya piss-poor sissy! Can't even out gun a crippled, drunk female, huh!? You ain't no gunslinger! Just a feeble little yellow-bellied nance! An assault on his manhood, Milton cocks his revolver. That distinctive Southern accent drops suddenly as he yells. MILTON: No gunslinger? No gunslinger!? Say it again, bitch! Again! Fucking say it! Alice goes in for the kill. ALICE: There ain't even a man before me. I see no man! I see nothing but dust! Milton cannot accept this. His voice sounds vaguely Jersey. MILTON: To your feet, you whore. Alice smirks before taking in a laborious breath. She pushes the horse off her leg, screaming in agony as she does so. Her leg, irreparably damaged. Still, she rises to her feet. The two stare, dust obscuring vision and irritating eyes. Neither can fully steel their movements -- twitching, swaying, wincing. It all aggresses the paranoia. Alice wants to wait for the first move. Milton, assuming himself the victor, goes for his gun. Alice flicks her revolver up and nails Milton through his black heart. The gun in his hand goes flying far away. Milton falls back, shocked that his life is to end now. He lifts his skull up, inviting Alice to deliver a bullet. Alice, trembling from pain, carefully aims her gun at Milton's head for the final blow, ending the whole affair. Click. She knocks out the cylinder. Completely empty. And now UNDEAD from the copse and the plains begin to converge. Horrified of his coming turn to eternal undying, Milton falls back and fades. Alice notices another gun in his coat. She attempts to walk forward -- but the pain. Her leg has shattered into razor pieces and she collapses to the ground. She must instead crawl forward to reach the turning Milton. The man's body begins to shift gray. It lightly convulses. The undead surround her. Some even reach her. She pushes off their prying, grasping hands and hurries through the agony. Coughing up dust, she finally makes it to the restless body. Alice reaches into the coat and pulls out the spare gun. Milton's undead body erupts and pins Alice down to the ground. The corpse holds her arms and attempts to bite down. Alice uses the last bits of her strength to push the undead body off her just enough to raise the weapon to its head. She presses the barrel to Milton's skull and fires. Click. Alice lets out a soft chuckle. Click. Milton snarls down at her. She can barely resist. Click. Alice becomes overcome with giddy, anxious laughter. Click. The undead horde draws close. Nearby, the thrown gun. Click. Her laughter fades to a smile. Click. Her most honest smile in as long as she can remember. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- EXT. FORT UNCOMPAHGRE -- DAY -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Clouds blanket the sky as Manco walks the plains. Her legs quit out on her at the sight of the fort in the distance, sitting in front of an imposing, rocky mountain peak. She stares at the dirt, stuck in a thought. She looks to the vastness out west, bites her lip as she weighs options. Her mind clears upon hearing the pitter-patter of rain on the bone-dry dirt below. Manco can hardly believe her eyes. She holds her palms up, letting the falling droplets cut rivers through the grime on her hands. The arid heat dissipating, she breathes in the revitalizing moisture. After a moment, she continues her way toward the fort. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= -=-=- INT. FORT UNCOMPAHGRE -- DAY -=-=- =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Manco sits among a throng of RESIDENTS in a meeting hall. They sit awaiting her tale to begin. The young woman listens to the rain babble on the roof. Then she begins. FADE OUT. ******************************************************************************* (5/1/25 4:25 a.m.) EDITOR'S NOTE: The following is a transcript of a video edited by Martie "Murds" Mood. Title: Luigi's Freestyle (Kendrick Lamar Parody) -- Unfinished Business Episode 7 -- strummerdood Description: Free Palestine -- Ten Myths About Israel (2017), a nonfiction book by Ilan Pappe Visibility: Public Restrictions: - Date: Nov 28, 2013 Views: 6,632 Comments: 16 Like (vs. dislike): 95 (92.2%) Hey, so it's technically still the Year of Luigi, so I'm going to go back and beat Super Mario Bros. 2. I used to play with my brother and he would pick Mario and I would always pick Luigi -- but neither of us beat it. So, I'm going to go back and finally finish it. FRANK (O.S.): I beat that game. No you didn't. FRANK (O.S.): Yes I did. No you d-- FRANK (O.S.): YES I DID! I'm gonna be sleeping down here tonight, so SHUT THE HELL UP! (Frank lies down to sleep as a perturbed Matt puts in earbuds and Backseat Freestyle by Kendrick Lamar begins. He then transforms into Luigi from Delco.) Uh, Mario's got a dream! Mario's got a dream! Luigi's gotta dream! Subcon here is my nation, screw my blood relations Erasing vegetation not defacing work of guileless brick masons Throwing up turnips and pumpkins like upchuck, debasing Like a Pixie, ritzy living, I'm a monkey headed to heaven Defending fairies and eating cherries, that's five to collect But that's for the dainty and the wimpy, I remember how to warp ahead That ain't no dancing, Sally, Shy Guy, Ninji, Tryclyde, Cobrat Gotta little bit of help from my little kicks, little trick learned from Elaine Benes, screaming All my life I've been under my brother Neglects my life like the pipes he's no plumber I pray I wake in Termina's Clock Tower So I can end the world in 72 hours Goddamn I got twitches, damn I got glitches, damn I got bitches Peachey, Daisy, some princess All my life I've been under my brother Neglects my life like the pipes he's no plum (?) Torn asunder by my brother's own blunders, Embarrass my mother while he's stealing all of my thunder It's why I'm taller and a totally different color Waluigi ain't my contender, we ain't playing no soccer He ain't in no Smash Bros., he ain't in no DK Junior Taking monkeys as hostages, his shooter needs to be neutered But he's got that Walk of Game fame, accolades factored to his name It's a goddamn shame since Luigi is your main, screaming All my life I've been under my brother Neglects my life like the pipes he's no plumber I pray I wake in Termina's Clock Tower So I can end the world in 72 hours Goddamn I got twitches, damn I got glitches, damn I got bitches Peachey, Daisy, some princess All my life I've been under my brother Neglects my life like the pipes It's-a go time My game ends at the hands of a dragon, Ha ha, nevermind bitch, just faking Just another stop to the top of the mountain Clean up with the Poltergust 3000 Peach! No wait. Peach! No wait. Peach! No wait. Peach! No way cuz I'm the number one contributor My traits are appallingly superior My lyrical bacterial spreads miracles Terrible like Mario's cereal Peach! Coldplay. Peach! Coldplay. Peach! Coldplay. Peach, I don't like OJ! Killing everything with words like bombs, blame Fawful's artistry Wart is on my ass think fast, he don't like the taste of veggies L-U-G-I-G-I-E, that's how you misspell Luigi S-U-B-C-O-N-N, that is Subcon apparently, screaming All my life I've been under my brother Neglects my life like the pipes he's no plumber I pray I wake in Termina's Clock Tower So I can end the world in 72 hours Goddamn I got twitches, damn I got glitches, damn I got bitches Peachey, Daisy, some princess All my life I've been under my brother Neglects my life like the pipes he's no plumber Luigi... Mario's got a dream! Mario's got a dream! Luigi's gotta dream! (The song ends, Frank still asleep and Matt wrapping up the video game.) Boom, and I beat Super Mario Bros. 2. It's a real fun game, it gets a lot of flack for no real good reason. (Matt notices an awakened Frank out of the corner of his eye.) I'm sorry, did I wake you, man-- (Frank delivers a devastating slap across Matt's face. Matt looks up in terror.) FRANK (O.S.): I had a dream that you had a dream that Mario had a dream that Luigi was talking crap on me! (Matt is flabbergasted.) ...What!?